No Justice Without Us: The Bay Area's Legacy of Art Activism
A Love Song to Freedom Fighters: 2015’s Radical Movements
Remembering Architect and Arts Patron David Cunningham (1967–2015)
Day Trippin’: Summer Art Destinations Around the Bay Area
Celebrating the Life of Artist and Curator Susan O’Malley (1976–2015)
Unpacking Rirkrit Tiravanija’s Curatorial Project ‘The Way Things Go’ at YBCA
Finding Beauty Along the Edges: Remembering Rex Ray (1956–2015)
#JeSuisCharlie: Artists Go Viral in Solidarity with Slain French Journalists
Hell No, We Won't Go: Outstanding Radical Art and Global Movements in 2014
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"slug": "no-justice-without-us-the-bay-areas-legacy-of-art-activism",
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"content": "\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/128523144\u003c/p>\n\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIH-t2aLFog\u003c/p>\n\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\n\u003cp>https://vimeo.com/152916274\u003c/p>\n\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FZkXZQGbnJs\u003c/p>\n\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"title": "No Justice Without Us: The Bay Area's Legacy of Art Activism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\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/vIH-t2aLFog'\n title='//www.youtube.com/embed/vIH-t2aLFog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\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/FZkXZQGbnJs'\n title='//www.youtube.com/embed/FZkXZQGbnJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\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>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-love-song-to-freedom-fighters-2015s-radical-movements",
"title": "A Love Song to Freedom Fighters: 2015’s Radical Movements",
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"content": "\u003cp>Columbia University professor Todd Gitlin recently wrote \u003ca href=\"http://www.nytimes.com/2015/11/22/opinion/sunday/why-are-student-protesters-so-fearful.html\" target=\"_blank\" rel=\"noopener\">an op-ed\u003c/a> in \u003cem>The New York Times\u003c/em> that asked, “Why are student protesters so fearful?” Conceding that young people have much to fear — briefly ticking off rape culture, the “grotesque proportions” of police brutality towards black people and rising hatred toward immigrants — Gitlin proceeded to bemoan a supposed lack of courage among today’s young people, compared to their 1960s counterparts.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Setting aside the fact that laws limiting public expression have increased exponentially in the last 50 years and that violence against protesters is swift and severe, I read Gitlin’s screed with the same bewilderment that accompanies any conversation with someone who refuses to acknowledge progress in favor of propping up memories of their youth. It charitably occurred to me that maybe he’s been trapped under something heavy in recent years — perhaps an old boulder-style PC with dial-up internet. That might explain how much he’s missed.\u003c/p>\n\u003cp>The truth is that today’s radical actions are far more nuanced, organized and networked than in any other period in history — with young people and visual culture driving much of it. I don’t need to write a list here of the terrible things that happened in 2015. Violence, bigotry and hate seemed to reign. The news was often an onslaught, leaving us with barely enough time to recover from the previous week’s brutality before being tossed into greater horrors.\u003c/p>\n\u003cp>Thankfully it was also an amazing year of resistance. Deciding to embrace this moment as a movement unto itself is one way to shift away from narrow thinking, and recognizing the bold new territories of resistance is another. This is a mere sample of highlights from a year of radical actions and global movements that kept my faith in the future alive.\u003c/p>\n\u003cfigure id=\"attachment_11181883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg\" alt=\"Turkish men wearing skirts demonstrate in Istanbul, to support women's rights in memory of 20-year-old Ozgecan Aslan.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Turkish men wearing skirts demonstrate in Istanbul, to support women’s rights in memory of 20-year-old Ozgecan Aslan. \u003ccite>(Photo: BULENT KILIC/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Feminist Action\u003c/h3>\n\u003cp>2015 was a decidedly powerful year for dismantling the patriarchy. Women tech workers took out \u003ca href=\"http://www.businessinsider.com/thanks-ellen-pao-full-page-ad-in-palo-alto-daily-post-2015-3\" target=\"_blank\" rel=\"noopener\">a full-page ad\u003c/a> in the \u003cem>Palo Alto Daily Post\u003c/em> to thank Ellen Pao for her gender discrimination lawsuit against Kleiner Perkins Caufield & Byers. Following the jury’s verdict against Pao, the Twitterverse likewise erupted with its support via \u003ca href=\"https://twitter.com/search?q=%23ThankYouEllenPao&src=typd\" target=\"_blank\" rel=\"noopener\">#ThankYouEllenPao\u003c/a>. A win in the courtroom, it would seem, is not the only measure of victory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In May, the Oakland-based BlackOut Collective answered a national call to action with \u003ca href=\"http://fusion.net/story/137976/say-her-name-topless-protesters/\" target=\"_blank\" rel=\"noopener\">a topless demonstration\u003c/a> in San Francisco’s Financial District during morning rush hour, protesting state violence against black women and girls. Later in the year, after an anti-domestic violence \u003ca href=\"http://remezcla.com/features/moriviv-mural-vandalized-puerto-rico/\" target=\"_blank\" rel=\"noopener\">mural was vandalized and censored for nudity\u003c/a>, Puerto Rican women bared their breasts in protest.\u003c/p>\n\u003cp>Turkish men took to the streets of Istanbul in skirts \u003ca href=\"http://time.com/3718618/turkey-men-miniskirts-ozgecan-aslan/\" target=\"_blank\" rel=\"noopener\">for women’s rights\u003c/a> and to honor Ozgecan Aslan, a 20-year-old student who was brutally murdered after fighting off a bus driver’s assault. \u003ca href=\"https://twitter.com/hashtag/ozgecanicinminietekgiy?src=hash\" target=\"_blank\" rel=\"noopener\">#ozgecanicinminietekgiy\u003c/a> (“wear a miniskirt for Ozgecan”) went viral overnight.\u003c/p>\n\u003cfigure id=\"attachment_11181882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Columbia640.jpg\" alt=\"Emma Sulkowicz carries a mattress in protest of Columbia University's lack of action.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Sulkowicz carries a mattress in protest of Columbia University’s lack of action. \u003ccite>(Photo: Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was the year former Columbia University student Emma Sulkowicz \u003ca href=\"http://www.nytimes.com/2015/05/20/nyregion/mattress-protest-at-columbia-university-continues-into-graduation-event.html\" target=\"_blank\" rel=\"noopener\">carried her dorm mattress at graduation\u003c/a>. It was the culmination of her yearlong protest performance centered on her own complaints of assault, a performance that prompted national dialogue around the college rape epidemic.\u003c/p>\n\u003cp>This was also the year Los Angeles-based violinist Mia Matsumiya \u003ca href=\"http://www.cosmopolitan.com/lifestyle/news/a47967/mia-matsumiya-perv-magnet-instagram/\" target=\"_blank\" rel=\"noopener\">leveraged Instagram to expose ten years of lewd messages\u003c/a> sent to her online.\u003c/p>\n\u003cp>And in an awesome show of intersectional feminism, the Girl Scouts of Western Washington \u003ca href=\"http://www.people.com/article/girl-scouts-donation-transgender-crowdfund\" target=\"_blank\" rel=\"noopener\">opted to return a $100,000 donation\u003c/a> when the donor stipulated that the money could not be used for transgender girls. Instead, they launched \u003ca href=\"https://www.indiegogo.com/projects/girl-scouts-is-foreverygirl#/story\" target=\"_blank\" rel=\"noopener\">an Indiegogo campaign\u003c/a> that raised three times as much in less than 48 hours.\u003c/p>\n\u003cfigure id=\"attachment_11181885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg\" alt=\"Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri. \u003ccite>(Photo: Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Beyond #BlackLivesMatter\u003c/h3>\n\u003cp>Few images of determination have been more inspiring than that of artist activist Bree Newsome \u003ca href=\"http://www.democracynow.org/2015/7/3/this_flag_comes_down_today_bree\" target=\"_blank\" rel=\"noopener\">scaling a flagpole at the South Carolina Capitol\u003c/a> to take down the Confederate flag. (The title of this essay is borrowed from a \u003ca href=\"https://soundcloud.com/breenewsome/staystrong\" target=\"_blank\" rel=\"noopener\">song\u003c/a> Newsome recorded, inspired by events in Ferguson and dedicated to younger organizers.)\u003c/p>\n\u003cp>Similarly inspiring images came out of the student-led movement against racism at the University of Missouri, initiated by \u003ca href=\"https://twitter.com/CS_1950?lang=en\" target=\"_blank\" rel=\"noopener\">#ConcernedStudent1950\u003c/a>, and from the \u003ca href=\"http://www.newsweek.com/berkeley-high-school-students-walk-out-protest-against-discovered-racial-391262\" target=\"_blank\" rel=\"noopener\">thousands of students who walked out of Berkeley High\u003c/a> in November after racist threats were found on a library computer.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Blklivesmatter\" target=\"_blank\" rel=\"noopener\">#BlackLivesMatter\u003c/a> persists as a rallying cry for systemic change in numerous ways. San Francisco teacher librarians created a \u003ca href=\"http://archives.sfexaminer.com/sanfrancisco/sf-teacher-librarians-create-black-lives-matter-resource-guide-for-classrooms/Content?oid=2915809\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Resource Guide\u003c/a> for classrooms. Following the discovery that Florida police used mugshots of black men for target practice, white clergy responded with \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2015/01/25/florida-police-used-mugshots-of-black-men-for-target-practice-clergy-responded-usemeinstead/\" target=\"_blank\" rel=\"noopener\">#UseMeInstead\u003c/a> and offered up their own images for the shooting range. \u003c/p>\n\u003cp>https://twitter.com/PastorJoelle/status/556411872769896448\u003c/p>\n\u003cp>On the anniversary of the police shooting and killing of Michael Brown in Ferguson, MO, \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2015/08/10/ferguson-activists-deray-mckesson-johnetta-elzie-among-those-arrested-in-st-louis/\" target=\"_blank\" rel=\"noopener\">activists raised a banner\u003c/a> reading “Racism Still Lives Here,” in front of the St. Louis Arch, using oversized balloons.\u003c/p>\n\u003cp>Artist and writer Chris Cobb successfully \u003ca href=\"http://blogs.artinfo.com/artintheair/2015/07/07/de-blasio-inaugurates-wall-street-plaque-commemorating-slave-market/\" target=\"_blank\" rel=\"noopener\">lobbied\u003c/a> to memorialize the site of New York’s historic municipal slave market on Wall Street. Paramount \u003ca href=\"http://time.com/3833493/selma-dvd-high-schools/\" target=\"_blank\" rel=\"noopener\">sent free DVDs of \u003cem>Selma\u003c/em>\u003c/a> to every high school in America, while Dylan Marron’s \u003ca href=\"http://everysinglewordspoken.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Every Single Word\u003c/a> project cataloged every word spoken by a person of color in numerous mainstream films. It was recently named Tumblr’s number one blog of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q6tWJ4u4aB4\u003c/p>\n\u003ch3>Tenacity and Resilience\u003c/h3>\n\u003cp>Throughout 2015, hate speech, terrorism and intolerance were quickly met with images of tenacity and resilience. San Francisco arts activist group Street Cred \u003ca href=\"http://www.dailydot.com/geek/kamala-khan-graffiti-anti-islamic-bus-ad/\" target=\"_blank\" rel=\"noopener\">altered anti-Muslim ads\u003c/a> on city buses paid for by right-wing organizations with messages featuring fictional Marvel super heroine Kamala Khan and summoning “all bigotry busters” to denounce hate speech. Following the murders of three Muslim students in Chapel Hill, Mohammad Alsalti, a design student at the University of Cincinnati instinctively took to Instagram with \u003ca href=\"http://www.colorlines.com/articles/one-image-captures-loss-muslim-student-killings\" target=\"_blank\" rel=\"noopener\">a memorial image\u003c/a> that swiftly went viral.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/y951eplvKf/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">Inna lilah wa inna ilayhi rajioon. Rest in peace Deah, Yusor, and Razan. Amazing people gone way too soon. *Original Design*\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Mohammad Alsalti (@teddycreates) on Feb 11, 2015 at 8:15am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>After so much carnage without hard data in many areas, \u003cem>The Guardian\u003c/em> launched an online initiative called \u003ca href=\"http://www.theguardian.com/us-news/ng-interactive/2015/jun/01/the-counted-police-killings-us-database\" target=\"_blank\" rel=\"noopener\">The Counted\u003c/a> to document people killed by law enforcement in the U.S. (1,103 as of press time). Rapper Calvin Broadus, otherwise known as Snoop Dogg, initiated a \u003ca href=\"http://money.cnn.com/2015/03/10/investing/snoop-dogg-guns/\" target=\"_blank\" rel=\"noopener\">campaign to urge investors to dump gun stocks\u003c/a>. Banksy protest posters \u003ca href=\"http://www.hexjam.com/uk/news/banksy-protest-posters-are-being-plastered-all-over-london\" target=\"_blank\" rel=\"noopener\">objecting to a local arms fair\u003c/a> appeared all over London in September. \u003c/p>\n\u003cp>https://twitter.com/allinwithchris/status/672274114644606976\u003c/p>\n\u003cp>Following the San Bernardino massacre, Igor Volsky, a contributing editor at ThinkProgress.org, used \u003ca href=\"http://www.forbes.com/sites/katiesola/2015/12/04/igor-volsky-twitter/\" target=\"_blank\" rel=\"noopener\">Twitter to expose the hypocrisy of government officials\u003c/a> who express sorrow after gun massacres while simultaneously accepting money from the NRA. It was one the most provocative uses of social media reportage seen this year.\u003c/p>\n\u003cfigure id=\"attachment_11181881\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg\" alt=\"Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad's Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11181881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad’s Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence. \u003ccite>(Photo: SABAH ARAR/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Peaceful Resistance\u003c/h3>\n\u003cp>Elsewhere, generosity offered a form of peaceful resistance. In \u003ca href=\"http://www.npr.org/2015/06/08/412284066/amid-violence-in-baghdad-a-musician-creates-a-one-man-vigil\" target=\"_blank\" rel=\"noopener\">the aftermath of violence in Baghdad\u003c/a>, Iraqi musician Karim Wasfi, former director of the Iraqi National Symphony Orchestra, could be seen in a suit playing his cello on top of smoldering ash and rubble. In the same spirit, a German musician \u003ca href=\"http://www.nydailynews.com/news/world/german-pianist-plays-imagine-paris-le-bataclan-article-1.2435047\" target=\"_blank\" rel=\"noopener\">towed his piano with his bike\u003c/a> through the streets of Paris to play John Lennon’s “Imagine” outside the Bataclan theater where so many people had been killed the night before. \u003c/p>\n\u003cp>Meanwhile, Parisians flocked to Twitter \u003ca href=\"http://www.independent.co.uk/news/world/europe/attack-in-paris-free-taxis-and-open-doors-how-france-responded-to-an-act-of-barbarity-with-acts-of-a6734526.html\" target=\"_blank\" rel=\"noopener\">to offer their homes to strangers\u003c/a> stranded throughout the night with the hashtag \u003ca href=\"https://twitter.com/hashtag/PorteOuverte?src=hash\" target=\"_blank\" rel=\"noopener\">#PorteOuverte\u003c/a> (“open door”). Following the attacks in Paris, France announced plans to \u003ca href=\"http://hyperallergic.com/255230/in-wake-of-terrorist-attacks-france-looks-to-fight-isis-with-cultural-preservation/\" target=\"_blank\" rel=\"noopener\">invest in cultural preservation\u003c/a> as a strategy to thwart ISIS’ goal of cultural destruction.\u003c/p>\n\u003cfigure id=\"attachment_11181884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg\" alt='Design for \"Refugees Welcome Sticker Set.\"' width=\"640\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-511x600.jpg 511w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Design for “Refugees Welcome Sticker Set.” \u003ccite>(Courtesy: Burlesque of North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plight of migrants spurred a global dialogue around racism, otherness and colonialism. More than 200 British activists \u003ca href=\"http://magazine.good.is/articles/body-bag-protest-migrants\" target=\"_blank\" rel=\"noopener\">staged a body bag protest\u003c/a> to raise awareness around the issue. More than 11,000 Icelanders organized on Facebook \u003ca href=\"http://www.independent.co.uk/news/world/europe/more-than-11000-icelanders-offer-to-house-syrian-refugees-to-help-european-crisis-10480505.html\" target=\"_blank\" rel=\"noopener\">to offer housing for Syrian refugees\u003c/a>. Students at London’s Goldsmiths College, a respected art school (and my alma mater), rallied to raise funds to launch \u003ca href=\"https://news.artnet.com/art-world/goldsmiths-art-school-refugee-scholarships-348245\" target=\"_blank\" rel=\"noopener\">scholarships for refugees and asylum seekers\u003c/a>.\u003c/p>\n\u003cp>In response to the current crisis and rising anti-refugee sentiment, independent brand consultant Veda Partalo collaborated with design studio Burlesque of North America to produce a \u003ca href=\"http://blogs.walkerart.org/design/2015/12/09/refugees-welcome-burlesque-mike-davis-of-burlesque-of-north-america-and-veda-partalo\" target=\"_blank\" rel=\"noopener\">storefront sticker campaign to welcome refugees\u003c/a> into businesses. Most recently, a Chicago group of \u003ca href=\"http://www.occupydemocrats.com/non-islamic-chicago-schoolgirls-don-headscarves-in-show-of-support-for-muslim-classmates/\" target=\"_blank\" rel=\"noopener\">non-Islamic schoolgirls donned scarves in solidarity with their Muslim classmates.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11181886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg\" alt='Olafur Eliasson and Minik Rosing, \"Ice Watch,\" 2015.' width=\"640\" height=\"480\" class=\"size-full wp-image-11181886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Olafur Eliasson and Minik Rosing, “Ice Watch,” 2015. \u003ccite>(Photo: Rebecca Solnit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Climate Activism\u003c/h3>\n\u003cp>Climate activism rocked the internet with righteous rage all year long, from \u003ca href=\"http://www.theguardian.com/world/2015/jun/13/climate-change-activists-occupy-tate-moderns-turbine-hall\" target=\"_blank\" rel=\"noopener\">covering the floor of the Tate Modern in charcoal script\u003c/a>, to \u003ca href=\"http://www.nbcnews.com/news/us-news/activists-hang-oregon-bridge-protest-shells-arctic-oil-drilling-n400306\" target=\"_blank\" rel=\"noopener\">dangling from the Portland Bridge\u003c/a> (who doesn’t love the word “kayaktivist?”), to \u003ca href=\"http://www.theguardian.com/business/2015/sep/13/activists-occupy-british-museum-over-bp-sponsorship\" target=\"_blank\" rel=\"noopener\">occupying the British Museum\u003c/a> and spelling out “NO” with umbrellas, to numerous acts of poetic civil disobedience during the Paris Climate summit. Media favorites included images of Olafur Eliasson and Minik Rosing’s \u003cem>Ice Watch\u003c/em>, \u003ca href=\"https://news.artnet.com/art-world/ice-watch-olafur-eliasson-climate-summit-384704\" target=\"_blank\" rel=\"noopener\">a melting installation of glacial ice\u003c/a> set in front of Place du Panthéon.\u003c/p>\n\u003cfigure id=\"attachment_11181998\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png\" alt=\"Joe Viex's meta Indiegogo campaign.\" width=\"640\" height=\"450\" class=\"size-full wp-image-11181998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450-400x281.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joe Veix’s meta Indiegogo campaign. \u003ccite>(Courtesy: Death and Taxes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>New Tactics\u003c/h3>\n\u003cp>Around the world, people looked for ways to amplify gestures of solidarity, creating a composite of resistance images that have expanded tactical possibilities. San Francisco-based writer Joe Veix slyly \u003ca href=\"http://www.deathandtaxesmag.com/244314/how-to-swiftly-torpedo-a-racist-crowdfunding-campaign/\" target=\"_blank\" rel=\"noopener\">culture jammed Indiegogo\u003c/a> and tanked efforts to raise money in support of the South Carolina police officer who murdered Walter Scott. A group of artists and activists used \u003ca href=\"http://hyperallergic.com/238667/artists-and-activists-trace-bostons-historic-red-line-on-the-streets/\" target=\"_blank\" rel=\"noopener\">red chalk to directly demonstrate Boston’s 1930s history of redlining\u003c/a> neighborhoods to limit home ownership. Protestors \u003ca href=\"http://www.theguardian.com/us-news/2015/nov/02/airbnb-san-francisco-headquarters-occupied-housing-protesters?CMP=share_btn_fb\" target=\"_blank\" rel=\"noopener\">occupied San Francisco’s Airbnb headquarters\u003c/a>, lifting anti-gentrification messages into the atrium with balloons.\u003c/p>\n\u003cp>Rounding out the year, the University of California \u003ca href=\"http://dailynexus.com/2015-12-17/uc-divests-from-private-prisons-after-pressure-from-black-student-unions/\" target=\"_blank\" rel=\"noopener\">divested roughly $25 million of investments in private prison corporations\u003c/a> after the Afrikan Black Coalition, UC’s network of nine Black Student Unions, revealed these holdings in the University’s investment portfolios.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As our concepts of public space and freedom of assembly evolve, so do the tactical responses to resistance. There are still, of course, peopled protests — and when they are peaceful without police conflict, they are amazing, moving sights to see. But also moving are the newer modes of resistance and demonstration we see unfolding online every day, knitting solidarity within dispersed communities working toward inevitable change. Even if it looks nothing like the past, the future looks bright — not because young people are replicating the tactics of bygone eras, but precisely because they are expanding them in new and unfamiliar ways. Here’s to ever more in the new year.\u003c/p>\n\n",
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"title": "A Love Song to Freedom Fighters: 2015’s Radical Movements | KQED",
"description": "It was a year of brutality and horrors, but it was also an amazing year of resistance.",
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"headline": "A Love Song to Freedom Fighters: 2015’s Radical Movements",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Columbia University professor Todd Gitlin recently wrote \u003ca href=\"http://www.nytimes.com/2015/11/22/opinion/sunday/why-are-student-protesters-so-fearful.html\" target=\"_blank\" rel=\"noopener\">an op-ed\u003c/a> in \u003cem>The New York Times\u003c/em> that asked, “Why are student protesters so fearful?” Conceding that young people have much to fear — briefly ticking off rape culture, the “grotesque proportions” of police brutality towards black people and rising hatred toward immigrants — Gitlin proceeded to bemoan a supposed lack of courage among today’s young people, compared to their 1960s counterparts.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Setting aside the fact that laws limiting public expression have increased exponentially in the last 50 years and that violence against protesters is swift and severe, I read Gitlin’s screed with the same bewilderment that accompanies any conversation with someone who refuses to acknowledge progress in favor of propping up memories of their youth. It charitably occurred to me that maybe he’s been trapped under something heavy in recent years — perhaps an old boulder-style PC with dial-up internet. That might explain how much he’s missed.\u003c/p>\n\u003cp>The truth is that today’s radical actions are far more nuanced, organized and networked than in any other period in history — with young people and visual culture driving much of it. I don’t need to write a list here of the terrible things that happened in 2015. Violence, bigotry and hate seemed to reign. The news was often an onslaught, leaving us with barely enough time to recover from the previous week’s brutality before being tossed into greater horrors.\u003c/p>\n\u003cp>Thankfully it was also an amazing year of resistance. Deciding to embrace this moment as a movement unto itself is one way to shift away from narrow thinking, and recognizing the bold new territories of resistance is another. This is a mere sample of highlights from a year of radical actions and global movements that kept my faith in the future alive.\u003c/p>\n\u003cfigure id=\"attachment_11181883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg\" alt=\"Turkish men wearing skirts demonstrate in Istanbul, to support women's rights in memory of 20-year-old Ozgecan Aslan.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Turkish men wearing skirts demonstrate in Istanbul, to support women’s rights in memory of 20-year-old Ozgecan Aslan. \u003ccite>(Photo: BULENT KILIC/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Feminist Action\u003c/h3>\n\u003cp>2015 was a decidedly powerful year for dismantling the patriarchy. Women tech workers took out \u003ca href=\"http://www.businessinsider.com/thanks-ellen-pao-full-page-ad-in-palo-alto-daily-post-2015-3\" target=\"_blank\" rel=\"noopener\">a full-page ad\u003c/a> in the \u003cem>Palo Alto Daily Post\u003c/em> to thank Ellen Pao for her gender discrimination lawsuit against Kleiner Perkins Caufield & Byers. Following the jury’s verdict against Pao, the Twitterverse likewise erupted with its support via \u003ca href=\"https://twitter.com/search?q=%23ThankYouEllenPao&src=typd\" target=\"_blank\" rel=\"noopener\">#ThankYouEllenPao\u003c/a>. A win in the courtroom, it would seem, is not the only measure of victory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In May, the Oakland-based BlackOut Collective answered a national call to action with \u003ca href=\"http://fusion.net/story/137976/say-her-name-topless-protesters/\" target=\"_blank\" rel=\"noopener\">a topless demonstration\u003c/a> in San Francisco’s Financial District during morning rush hour, protesting state violence against black women and girls. Later in the year, after an anti-domestic violence \u003ca href=\"http://remezcla.com/features/moriviv-mural-vandalized-puerto-rico/\" target=\"_blank\" rel=\"noopener\">mural was vandalized and censored for nudity\u003c/a>, Puerto Rican women bared their breasts in protest.\u003c/p>\n\u003cp>Turkish men took to the streets of Istanbul in skirts \u003ca href=\"http://time.com/3718618/turkey-men-miniskirts-ozgecan-aslan/\" target=\"_blank\" rel=\"noopener\">for women’s rights\u003c/a> and to honor Ozgecan Aslan, a 20-year-old student who was brutally murdered after fighting off a bus driver’s assault. \u003ca href=\"https://twitter.com/hashtag/ozgecanicinminietekgiy?src=hash\" target=\"_blank\" rel=\"noopener\">#ozgecanicinminietekgiy\u003c/a> (“wear a miniskirt for Ozgecan”) went viral overnight.\u003c/p>\n\u003cfigure id=\"attachment_11181882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Columbia640.jpg\" alt=\"Emma Sulkowicz carries a mattress in protest of Columbia University's lack of action.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Sulkowicz carries a mattress in protest of Columbia University’s lack of action. \u003ccite>(Photo: Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was the year former Columbia University student Emma Sulkowicz \u003ca href=\"http://www.nytimes.com/2015/05/20/nyregion/mattress-protest-at-columbia-university-continues-into-graduation-event.html\" target=\"_blank\" rel=\"noopener\">carried her dorm mattress at graduation\u003c/a>. It was the culmination of her yearlong protest performance centered on her own complaints of assault, a performance that prompted national dialogue around the college rape epidemic.\u003c/p>\n\u003cp>This was also the year Los Angeles-based violinist Mia Matsumiya \u003ca href=\"http://www.cosmopolitan.com/lifestyle/news/a47967/mia-matsumiya-perv-magnet-instagram/\" target=\"_blank\" rel=\"noopener\">leveraged Instagram to expose ten years of lewd messages\u003c/a> sent to her online.\u003c/p>\n\u003cp>And in an awesome show of intersectional feminism, the Girl Scouts of Western Washington \u003ca href=\"http://www.people.com/article/girl-scouts-donation-transgender-crowdfund\" target=\"_blank\" rel=\"noopener\">opted to return a $100,000 donation\u003c/a> when the donor stipulated that the money could not be used for transgender girls. Instead, they launched \u003ca href=\"https://www.indiegogo.com/projects/girl-scouts-is-foreverygirl#/story\" target=\"_blank\" rel=\"noopener\">an Indiegogo campaign\u003c/a> that raised three times as much in less than 48 hours.\u003c/p>\n\u003cfigure id=\"attachment_11181885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg\" alt=\"Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri. \u003ccite>(Photo: Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Beyond #BlackLivesMatter\u003c/h3>\n\u003cp>Few images of determination have been more inspiring than that of artist activist Bree Newsome \u003ca href=\"http://www.democracynow.org/2015/7/3/this_flag_comes_down_today_bree\" target=\"_blank\" rel=\"noopener\">scaling a flagpole at the South Carolina Capitol\u003c/a> to take down the Confederate flag. (The title of this essay is borrowed from a \u003ca href=\"https://soundcloud.com/breenewsome/staystrong\" target=\"_blank\" rel=\"noopener\">song\u003c/a> Newsome recorded, inspired by events in Ferguson and dedicated to younger organizers.)\u003c/p>\n\u003cp>Similarly inspiring images came out of the student-led movement against racism at the University of Missouri, initiated by \u003ca href=\"https://twitter.com/CS_1950?lang=en\" target=\"_blank\" rel=\"noopener\">#ConcernedStudent1950\u003c/a>, and from the \u003ca href=\"http://www.newsweek.com/berkeley-high-school-students-walk-out-protest-against-discovered-racial-391262\" target=\"_blank\" rel=\"noopener\">thousands of students who walked out of Berkeley High\u003c/a> in November after racist threats were found on a library computer.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Blklivesmatter\" target=\"_blank\" rel=\"noopener\">#BlackLivesMatter\u003c/a> persists as a rallying cry for systemic change in numerous ways. San Francisco teacher librarians created a \u003ca href=\"http://archives.sfexaminer.com/sanfrancisco/sf-teacher-librarians-create-black-lives-matter-resource-guide-for-classrooms/Content?oid=2915809\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Resource Guide\u003c/a> for classrooms. Following the discovery that Florida police used mugshots of black men for target practice, white clergy responded with \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2015/01/25/florida-police-used-mugshots-of-black-men-for-target-practice-clergy-responded-usemeinstead/\" target=\"_blank\" rel=\"noopener\">#UseMeInstead\u003c/a> and offered up their own images for the shooting range. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On the anniversary of the police shooting and killing of Michael Brown in Ferguson, MO, \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2015/08/10/ferguson-activists-deray-mckesson-johnetta-elzie-among-those-arrested-in-st-louis/\" target=\"_blank\" rel=\"noopener\">activists raised a banner\u003c/a> reading “Racism Still Lives Here,” in front of the St. Louis Arch, using oversized balloons.\u003c/p>\n\u003cp>Artist and writer Chris Cobb successfully \u003ca href=\"http://blogs.artinfo.com/artintheair/2015/07/07/de-blasio-inaugurates-wall-street-plaque-commemorating-slave-market/\" target=\"_blank\" rel=\"noopener\">lobbied\u003c/a> to memorialize the site of New York’s historic municipal slave market on Wall Street. Paramount \u003ca href=\"http://time.com/3833493/selma-dvd-high-schools/\" target=\"_blank\" rel=\"noopener\">sent free DVDs of \u003cem>Selma\u003c/em>\u003c/a> to every high school in America, while Dylan Marron’s \u003ca href=\"http://everysinglewordspoken.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Every Single Word\u003c/a> project cataloged every word spoken by a person of color in numerous mainstream films. It was recently named Tumblr’s number one blog of the year.\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/Q6tWJ4u4aB4'\n title='//www.youtube.com/embed/Q6tWJ4u4aB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Tenacity and Resilience\u003c/h3>\n\u003cp>Throughout 2015, hate speech, terrorism and intolerance were quickly met with images of tenacity and resilience. San Francisco arts activist group Street Cred \u003ca href=\"http://www.dailydot.com/geek/kamala-khan-graffiti-anti-islamic-bus-ad/\" target=\"_blank\" rel=\"noopener\">altered anti-Muslim ads\u003c/a> on city buses paid for by right-wing organizations with messages featuring fictional Marvel super heroine Kamala Khan and summoning “all bigotry busters” to denounce hate speech. Following the murders of three Muslim students in Chapel Hill, Mohammad Alsalti, a design student at the University of Cincinnati instinctively took to Instagram with \u003ca href=\"http://www.colorlines.com/articles/one-image-captures-loss-muslim-student-killings\" target=\"_blank\" rel=\"noopener\">a memorial image\u003c/a> that swiftly went viral.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/y951eplvKf/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">Inna lilah wa inna ilayhi rajioon. Rest in peace Deah, Yusor, and Razan. Amazing people gone way too soon. *Original Design*\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Mohammad Alsalti (@teddycreates) on Feb 11, 2015 at 8:15am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>After so much carnage without hard data in many areas, \u003cem>The Guardian\u003c/em> launched an online initiative called \u003ca href=\"http://www.theguardian.com/us-news/ng-interactive/2015/jun/01/the-counted-police-killings-us-database\" target=\"_blank\" rel=\"noopener\">The Counted\u003c/a> to document people killed by law enforcement in the U.S. (1,103 as of press time). Rapper Calvin Broadus, otherwise known as Snoop Dogg, initiated a \u003ca href=\"http://money.cnn.com/2015/03/10/investing/snoop-dogg-guns/\" target=\"_blank\" rel=\"noopener\">campaign to urge investors to dump gun stocks\u003c/a>. Banksy protest posters \u003ca href=\"http://www.hexjam.com/uk/news/banksy-protest-posters-are-being-plastered-all-over-london\" target=\"_blank\" rel=\"noopener\">objecting to a local arms fair\u003c/a> appeared all over London in September. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Following the San Bernardino massacre, Igor Volsky, a contributing editor at ThinkProgress.org, used \u003ca href=\"http://www.forbes.com/sites/katiesola/2015/12/04/igor-volsky-twitter/\" target=\"_blank\" rel=\"noopener\">Twitter to expose the hypocrisy of government officials\u003c/a> who express sorrow after gun massacres while simultaneously accepting money from the NRA. It was one the most provocative uses of social media reportage seen this year.\u003c/p>\n\u003cfigure id=\"attachment_11181881\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg\" alt=\"Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad's Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11181881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad’s Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence. \u003ccite>(Photo: SABAH ARAR/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Peaceful Resistance\u003c/h3>\n\u003cp>Elsewhere, generosity offered a form of peaceful resistance. In \u003ca href=\"http://www.npr.org/2015/06/08/412284066/amid-violence-in-baghdad-a-musician-creates-a-one-man-vigil\" target=\"_blank\" rel=\"noopener\">the aftermath of violence in Baghdad\u003c/a>, Iraqi musician Karim Wasfi, former director of the Iraqi National Symphony Orchestra, could be seen in a suit playing his cello on top of smoldering ash and rubble. In the same spirit, a German musician \u003ca href=\"http://www.nydailynews.com/news/world/german-pianist-plays-imagine-paris-le-bataclan-article-1.2435047\" target=\"_blank\" rel=\"noopener\">towed his piano with his bike\u003c/a> through the streets of Paris to play John Lennon’s “Imagine” outside the Bataclan theater where so many people had been killed the night before. \u003c/p>\n\u003cp>Meanwhile, Parisians flocked to Twitter \u003ca href=\"http://www.independent.co.uk/news/world/europe/attack-in-paris-free-taxis-and-open-doors-how-france-responded-to-an-act-of-barbarity-with-acts-of-a6734526.html\" target=\"_blank\" rel=\"noopener\">to offer their homes to strangers\u003c/a> stranded throughout the night with the hashtag \u003ca href=\"https://twitter.com/hashtag/PorteOuverte?src=hash\" target=\"_blank\" rel=\"noopener\">#PorteOuverte\u003c/a> (“open door”). Following the attacks in Paris, France announced plans to \u003ca href=\"http://hyperallergic.com/255230/in-wake-of-terrorist-attacks-france-looks-to-fight-isis-with-cultural-preservation/\" target=\"_blank\" rel=\"noopener\">invest in cultural preservation\u003c/a> as a strategy to thwart ISIS’ goal of cultural destruction.\u003c/p>\n\u003cfigure id=\"attachment_11181884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg\" alt='Design for \"Refugees Welcome Sticker Set.\"' width=\"640\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-511x600.jpg 511w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Design for “Refugees Welcome Sticker Set.” \u003ccite>(Courtesy: Burlesque of North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plight of migrants spurred a global dialogue around racism, otherness and colonialism. More than 200 British activists \u003ca href=\"http://magazine.good.is/articles/body-bag-protest-migrants\" target=\"_blank\" rel=\"noopener\">staged a body bag protest\u003c/a> to raise awareness around the issue. More than 11,000 Icelanders organized on Facebook \u003ca href=\"http://www.independent.co.uk/news/world/europe/more-than-11000-icelanders-offer-to-house-syrian-refugees-to-help-european-crisis-10480505.html\" target=\"_blank\" rel=\"noopener\">to offer housing for Syrian refugees\u003c/a>. Students at London’s Goldsmiths College, a respected art school (and my alma mater), rallied to raise funds to launch \u003ca href=\"https://news.artnet.com/art-world/goldsmiths-art-school-refugee-scholarships-348245\" target=\"_blank\" rel=\"noopener\">scholarships for refugees and asylum seekers\u003c/a>.\u003c/p>\n\u003cp>In response to the current crisis and rising anti-refugee sentiment, independent brand consultant Veda Partalo collaborated with design studio Burlesque of North America to produce a \u003ca href=\"http://blogs.walkerart.org/design/2015/12/09/refugees-welcome-burlesque-mike-davis-of-burlesque-of-north-america-and-veda-partalo\" target=\"_blank\" rel=\"noopener\">storefront sticker campaign to welcome refugees\u003c/a> into businesses. Most recently, a Chicago group of \u003ca href=\"http://www.occupydemocrats.com/non-islamic-chicago-schoolgirls-don-headscarves-in-show-of-support-for-muslim-classmates/\" target=\"_blank\" rel=\"noopener\">non-Islamic schoolgirls donned scarves in solidarity with their Muslim classmates.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11181886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg\" alt='Olafur Eliasson and Minik Rosing, \"Ice Watch,\" 2015.' width=\"640\" height=\"480\" class=\"size-full wp-image-11181886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Olafur Eliasson and Minik Rosing, “Ice Watch,” 2015. \u003ccite>(Photo: Rebecca Solnit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Climate Activism\u003c/h3>\n\u003cp>Climate activism rocked the internet with righteous rage all year long, from \u003ca href=\"http://www.theguardian.com/world/2015/jun/13/climate-change-activists-occupy-tate-moderns-turbine-hall\" target=\"_blank\" rel=\"noopener\">covering the floor of the Tate Modern in charcoal script\u003c/a>, to \u003ca href=\"http://www.nbcnews.com/news/us-news/activists-hang-oregon-bridge-protest-shells-arctic-oil-drilling-n400306\" target=\"_blank\" rel=\"noopener\">dangling from the Portland Bridge\u003c/a> (who doesn’t love the word “kayaktivist?”), to \u003ca href=\"http://www.theguardian.com/business/2015/sep/13/activists-occupy-british-museum-over-bp-sponsorship\" target=\"_blank\" rel=\"noopener\">occupying the British Museum\u003c/a> and spelling out “NO” with umbrellas, to numerous acts of poetic civil disobedience during the Paris Climate summit. Media favorites included images of Olafur Eliasson and Minik Rosing’s \u003cem>Ice Watch\u003c/em>, \u003ca href=\"https://news.artnet.com/art-world/ice-watch-olafur-eliasson-climate-summit-384704\" target=\"_blank\" rel=\"noopener\">a melting installation of glacial ice\u003c/a> set in front of Place du Panthéon.\u003c/p>\n\u003cfigure id=\"attachment_11181998\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png\" alt=\"Joe Viex's meta Indiegogo campaign.\" width=\"640\" height=\"450\" class=\"size-full wp-image-11181998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450-400x281.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joe Veix’s meta Indiegogo campaign. \u003ccite>(Courtesy: Death and Taxes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>New Tactics\u003c/h3>\n\u003cp>Around the world, people looked for ways to amplify gestures of solidarity, creating a composite of resistance images that have expanded tactical possibilities. San Francisco-based writer Joe Veix slyly \u003ca href=\"http://www.deathandtaxesmag.com/244314/how-to-swiftly-torpedo-a-racist-crowdfunding-campaign/\" target=\"_blank\" rel=\"noopener\">culture jammed Indiegogo\u003c/a> and tanked efforts to raise money in support of the South Carolina police officer who murdered Walter Scott. A group of artists and activists used \u003ca href=\"http://hyperallergic.com/238667/artists-and-activists-trace-bostons-historic-red-line-on-the-streets/\" target=\"_blank\" rel=\"noopener\">red chalk to directly demonstrate Boston’s 1930s history of redlining\u003c/a> neighborhoods to limit home ownership. Protestors \u003ca href=\"http://www.theguardian.com/us-news/2015/nov/02/airbnb-san-francisco-headquarters-occupied-housing-protesters?CMP=share_btn_fb\" target=\"_blank\" rel=\"noopener\">occupied San Francisco’s Airbnb headquarters\u003c/a>, lifting anti-gentrification messages into the atrium with balloons.\u003c/p>\n\u003cp>Rounding out the year, the University of California \u003ca href=\"http://dailynexus.com/2015-12-17/uc-divests-from-private-prisons-after-pressure-from-black-student-unions/\" target=\"_blank\" rel=\"noopener\">divested roughly $25 million of investments in private prison corporations\u003c/a> after the Afrikan Black Coalition, UC’s network of nine Black Student Unions, revealed these holdings in the University’s investment portfolios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As our concepts of public space and freedom of assembly evolve, so do the tactical responses to resistance. There are still, of course, peopled protests — and when they are peaceful without police conflict, they are amazing, moving sights to see. But also moving are the newer modes of resistance and demonstration we see unfolding online every day, knitting solidarity within dispersed communities working toward inevitable change. Even if it looks nothing like the past, the future looks bright — not because young people are replicating the tactics of bygone eras, but precisely because they are expanding them in new and unfamiliar ways. Here’s to ever more in the new year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Architect and Arts Patron David Cunningham (1967–2015)",
"headTitle": "Remembering Architect and Arts Patron David Cunningham (1967–2015) | KQED",
"content": "\u003cp>News of the death of San Francisco-based architect and arts patron David Cunningham spread swiftly on Facebook this week, to the disbelief of many who knew the former owner of \u003ca href=\"http://www.davidcunninghamprojects.com/Site/DCP.html\" target=\"_blank\" rel=\"noopener\">David Cunningham Projects\u003c/a> (DCP), an alternative gallery on Folsom Street. The stalwart arts supporter and former Southern Exposure board member died from cancer on Sunday; he was 48. Modern Edinburgh Film School posted a tribute to him on Facebook, espousing the “energy, intellect and special presence of David Cunningham and his fantastic gallery.”\u003c/p>\n\u003cfigure id=\"attachment_10932657\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10932657 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DC2.jpg\" alt=\"A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\" width=\"554\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-400x468.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-513x600.jpg 513w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\u003c/figcaption>\u003c/figure>\n\u003cp>He did indeed have a special presence: very quiet, extremely generous and deeply committed to artists and the importance of art. His architecture projects will stand as testament to his contributions to public life. The many artists, designers and architects he worked with will continue to feel his influence as an arts champion, here and abroad.\u003c/p>\n\u003cp>I first met Cunningham in 2008 through artist Michael Damm. My curatorial enterprise Invisible Venue produced a site-specific series of Damm’s video projections in West Oakland in association with DCP, which was simultaneously \u003ca href=\"http://www.artbusiness.com/1open/121308.html\" target=\"_blank\" rel=\"noopener\">projecting Damm’s videos onto the street\u003c/a> in San Francisco. Over the years, Cunningham would drop me a supportive note from time to time, whenever my writing generated a lot of commentary and/or controversy, as the case sometimes has been.\u003c/p>\n\u003cp>Last year, as board vice president, he invited me to speak with the Southern Exposure staff and board about the shifting landscape of support for artists in the San Francisco Bay Area. Like many others, I will miss his quiet advocacy and gentle humor.\u003c/p>\n\u003cp>Born in Zambia to Irish parents, he spent much of his early childhood in Africa before returning to Ireland. Cunningham studied architecture at University College of Dublin. He moved to San Francisco in 1993 and worked at the firm Studios Architecture before joining Oculus Architects in 1998. His early projects include the extraordinary Petronas Towers in Kuala Lumpur. More recently his clients include University of California, San Francisco; University of San Francisco, and St. Mary’s College, where he was the lead architect and project designer on the $23.5 million Joseph Alioto Recreation Center, completed earlier this year. His longtime friend and colleague, Hugh Cotter, a principal at Oculus Architects, said recently, “He never introduced the precious or pastiche, but just saw, with an artist’s eye, what others might miss.”\u003c/p>\n\u003cfigure id=\"attachment_10932646\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg\" alt=\"'I Am Kurious Orange' at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘I Am Kurious Orange’ at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Cunningham established DCP out of his architecture studio in 2007, presenting a wide range of challenging, provocative and ambitious projects until 2010. There he showed international artists including Austin McQuinn, Bernadette Cotter, Pawel Kruk and Richard T. Walker, and many others. Artist Anne Colvin organized \u003cem>I am Kurious Orange\u003c/em> at DCP in 2009; author Kevin Killian described the show as “\u003ca href=\"http://openspace.sfmoma.org/2009/05/orange-skies/\" target=\"_blank\" rel=\"noopener\">a theatrical extravaganza\u003c/a>” on SFMOMA’s Open Space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Colvin notes Cunningham’s extraordinary generosity. He directly supported artists out-of-pocket and funded the production of challenging work, simply because he believed in it. “His interests,” Colvin says, “weren’t dictated by trends, but guided very much by his own passions.”\u003c/p>\n\u003cp>This is evident not only in the scope of the work that he presented, but in the scope of community he created. Case in point: A DCP 2008 exhibition featured the work Marshall Elementary School students, grades K – 5, focused on their visions for a better world.\u003c/p>\n\u003cfigure id=\"attachment_10932647\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg\" alt=\"Installation view of 'Chris Ashley & Alan Disparte,' David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640-400x296.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Chris Ashley & Alan Disparte,’ David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Echoing Colvin’s stories of his commitment, Walker, who worked for the gallery from the second show until it closed, recalled when Cunningham hired a structural engineer to reinforce the gallery floors in order to present Mariele Neudecker’s \u003cem>Tanks\u003c/em>. “The gallery,” Walker says, “became a place where something was genuinely \u003cem>happening;\u003c/em> things were unpredictable in the best possible way and although David was at the center of it all he would never accept any credit, as for him it was always about the artists.”\u003c/p>\n\u003cp>After DCP closed, following an untenable rent increase that seemed to initiate an avalanche of change in the city, Southern Exposure’s then-executive director Courtney Fink invited Cunningham to jury the annual Alternative Exposure grant awards. Shortly thereafter he joined the board and became, in her words, “indispensible from the moment he arrived.” Cunningham also continued to organize shows, including the 2011 group exhibition \u003cem>Enter Slowly\u003c/em> featuring seven international artists at \u003ca href=\"http://sfartenthusiast.com/2011/01/enter-slowly-at-the-lab/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, among other independent projects.\u003c/p>\n\u003cp>Cunningham possessed a unique vision for the possibilities in a city where rising costs have increasingly narrowed the field for risk and experimentation, and a genuine spirit that will be forever associated with a particularly vital and necessary moment in the San Francisco art scene. For any of us lucky enough to have experienced both, he will be deeply missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Cunningham is survived by his parents Steve and Margôt Cunningham of Galway, Ireland, his siblings and their extended families, as well as a vast international network of friends from the Bay Area and beyond. He will be laid to rest in a private ceremony this week in Ireland. A \u003ca href=\"https://www.soex.org/news/2015/08/31/remembering-david-cunningham\" target=\"_blank\" rel=\"noopener\">celebration of his life and contributions\u003c/a> will take place later this fall at Southern Exposure. In lieu of flowers, his family has requested donations in his memory to \u003ca href=\"https://www.galwayhospice.ie/\" target=\"_blank\" rel=\"noopener\">Galway Hospice\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of the death of San Francisco-based architect and arts patron David Cunningham spread swiftly on Facebook this week, to the disbelief of many who knew the former owner of \u003ca href=\"http://www.davidcunninghamprojects.com/Site/DCP.html\" target=\"_blank\" rel=\"noopener\">David Cunningham Projects\u003c/a> (DCP), an alternative gallery on Folsom Street. The stalwart arts supporter and former Southern Exposure board member died from cancer on Sunday; he was 48. Modern Edinburgh Film School posted a tribute to him on Facebook, espousing the “energy, intellect and special presence of David Cunningham and his fantastic gallery.”\u003c/p>\n\u003cfigure id=\"attachment_10932657\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10932657 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DC2.jpg\" alt=\"A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\" width=\"554\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-400x468.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-513x600.jpg 513w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\u003c/figcaption>\u003c/figure>\n\u003cp>He did indeed have a special presence: very quiet, extremely generous and deeply committed to artists and the importance of art. His architecture projects will stand as testament to his contributions to public life. The many artists, designers and architects he worked with will continue to feel his influence as an arts champion, here and abroad.\u003c/p>\n\u003cp>I first met Cunningham in 2008 through artist Michael Damm. My curatorial enterprise Invisible Venue produced a site-specific series of Damm’s video projections in West Oakland in association with DCP, which was simultaneously \u003ca href=\"http://www.artbusiness.com/1open/121308.html\" target=\"_blank\" rel=\"noopener\">projecting Damm’s videos onto the street\u003c/a> in San Francisco. Over the years, Cunningham would drop me a supportive note from time to time, whenever my writing generated a lot of commentary and/or controversy, as the case sometimes has been.\u003c/p>\n\u003cp>Last year, as board vice president, he invited me to speak with the Southern Exposure staff and board about the shifting landscape of support for artists in the San Francisco Bay Area. Like many others, I will miss his quiet advocacy and gentle humor.\u003c/p>\n\u003cp>Born in Zambia to Irish parents, he spent much of his early childhood in Africa before returning to Ireland. Cunningham studied architecture at University College of Dublin. He moved to San Francisco in 1993 and worked at the firm Studios Architecture before joining Oculus Architects in 1998. His early projects include the extraordinary Petronas Towers in Kuala Lumpur. More recently his clients include University of California, San Francisco; University of San Francisco, and St. Mary’s College, where he was the lead architect and project designer on the $23.5 million Joseph Alioto Recreation Center, completed earlier this year. His longtime friend and colleague, Hugh Cotter, a principal at Oculus Architects, said recently, “He never introduced the precious or pastiche, but just saw, with an artist’s eye, what others might miss.”\u003c/p>\n\u003cfigure id=\"attachment_10932646\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg\" alt=\"'I Am Kurious Orange' at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘I Am Kurious Orange’ at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Cunningham established DCP out of his architecture studio in 2007, presenting a wide range of challenging, provocative and ambitious projects until 2010. There he showed international artists including Austin McQuinn, Bernadette Cotter, Pawel Kruk and Richard T. Walker, and many others. Artist Anne Colvin organized \u003cem>I am Kurious Orange\u003c/em> at DCP in 2009; author Kevin Killian described the show as “\u003ca href=\"http://openspace.sfmoma.org/2009/05/orange-skies/\" target=\"_blank\" rel=\"noopener\">a theatrical extravaganza\u003c/a>” on SFMOMA’s Open Space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Colvin notes Cunningham’s extraordinary generosity. He directly supported artists out-of-pocket and funded the production of challenging work, simply because he believed in it. “His interests,” Colvin says, “weren’t dictated by trends, but guided very much by his own passions.”\u003c/p>\n\u003cp>This is evident not only in the scope of the work that he presented, but in the scope of community he created. Case in point: A DCP 2008 exhibition featured the work Marshall Elementary School students, grades K – 5, focused on their visions for a better world.\u003c/p>\n\u003cfigure id=\"attachment_10932647\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg\" alt=\"Installation view of 'Chris Ashley & Alan Disparte,' David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640-400x296.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Chris Ashley & Alan Disparte,’ David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Echoing Colvin’s stories of his commitment, Walker, who worked for the gallery from the second show until it closed, recalled when Cunningham hired a structural engineer to reinforce the gallery floors in order to present Mariele Neudecker’s \u003cem>Tanks\u003c/em>. “The gallery,” Walker says, “became a place where something was genuinely \u003cem>happening;\u003c/em> things were unpredictable in the best possible way and although David was at the center of it all he would never accept any credit, as for him it was always about the artists.”\u003c/p>\n\u003cp>After DCP closed, following an untenable rent increase that seemed to initiate an avalanche of change in the city, Southern Exposure’s then-executive director Courtney Fink invited Cunningham to jury the annual Alternative Exposure grant awards. Shortly thereafter he joined the board and became, in her words, “indispensible from the moment he arrived.” Cunningham also continued to organize shows, including the 2011 group exhibition \u003cem>Enter Slowly\u003c/em> featuring seven international artists at \u003ca href=\"http://sfartenthusiast.com/2011/01/enter-slowly-at-the-lab/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, among other independent projects.\u003c/p>\n\u003cp>Cunningham possessed a unique vision for the possibilities in a city where rising costs have increasingly narrowed the field for risk and experimentation, and a genuine spirit that will be forever associated with a particularly vital and necessary moment in the San Francisco art scene. For any of us lucky enough to have experienced both, he will be deeply missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Cunningham is survived by his parents Steve and Margôt Cunningham of Galway, Ireland, his siblings and their extended families, as well as a vast international network of friends from the Bay Area and beyond. He will be laid to rest in a private ceremony this week in Ireland. A \u003ca href=\"https://www.soex.org/news/2015/08/31/remembering-david-cunningham\" target=\"_blank\" rel=\"noopener\">celebration of his life and contributions\u003c/a> will take place later this fall at Southern Exposure. In lieu of flowers, his family has requested donations in his memory to \u003ca href=\"https://www.galwayhospice.ie/\" target=\"_blank\" rel=\"noopener\">Galway Hospice\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“The coldest winter I ever spent was a summer in San Francisco,” Mark Twain once said, according to urban legend. Whether or not he said it hardly matters, so let’s not dwell on it — we all know the city can be miserable in the summer, so the timing is perfect for day trips elsewhere around the Bay Area to get your art fix and expand your horizons.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Each of these five spots promise a whole host of great things to see and do – and yes, eat (if you are from the Bay Area, I know where your priorities lie, don’t worry) – so plan to make it a sunny day of exploration. But before we start, a word to the wise if you actually live in the city: You’ll be heading to the best weather the region has to offer, so feel free to leave your fleece at home and prepare to have fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675760\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg\" alt='\"Untitled\" by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)' width=\"400\" height=\"241\" class=\"size-thumbnail wp-image-10675760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled” by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Blow Up\u003c/h3>\n\u003ch5>Through June 21\u003cbr>\n\u003ca href=\"http://www.bedfordgallery.org\" target=\"_blank\">Bedford Gallery\u003c/a>\u003cbr>\n1601 Civic Drive, Walnut Creek\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Putting this one right up front as it closes at the end of June – so make it a priority because I think this might end up being one of the best shows of the summer. \u003cem>Plus\u003c/em> kids will love it, making it a great choice for families. This summer’s group exhibition, \u003cem>Blow Up\u003c/em>, organized by longtime Bedford curator Carrie Lederer, features large-scale inflatable sculptures by a wild range of artists. From Warhol’s silver balloons to Momoyo Torimitsu’s giant carnival bunnies to Guy Overfelt’s blow up hot rod, there is something for every kid ages 1 – 111 to marvel at in wonder. Just three blocks from BART, so take the train and keep it simple.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675762\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg\" alt='\"Smoke Screen\" by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10675762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Smoke Screen” by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tongue-in-Cheek\u003c/h3>\n\u003ch5>Through July 19\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di rosa\u003c/a>\u003cbr>\n5200 Sonoma Hwy, Napa\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Nestled amidst rolling green hills, grapevines and a picturesque lake, di Rosa is an extraordinary Northern California art destination. Founded by the late collectors extraordinaire Rene and Veronica di Rosa, di Rosa is widely considered the most significant collection of Bay Area artists in the world, featuring works by Robert Arneson, Enrique Chagoya, Raymond Saunders, Allan Rath and Mildred Howard, among some 800 artists. The Gatehouse Gallery features rotating exhibitions, including this summer’s group show, \u003cem>Tongue-in-Cheek\u003c/em>, which focuses on disarmingly funny — and dare I say quirky? — Bay Area artists including Tammy Rae Carland, Jonn Herschend and Kate Rhoades, among others. Explore Napa for the day \u003cem>and\u003c/em> see the work of great Bay Area artists? Win, win.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675765\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg\" alt='\"Red Rooms\" by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)' width=\"400\" height=\"177\" class=\"size-thumbnail wp-image-10675765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-800x355.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho.jpg 952w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Red Rooms” by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy M. Ho: Red Rooms\u003c/h3>\n\u003ch5>Through Sept. 12\u003cbr>\n\u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener\">San Jose Institute of Contemporary Art\u003c/a>\u003cbr>\n560 South First Street, San Jose\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Okay, the cat’s outta the bag: San Jose has the best weather in the Bay Area. Plus it has the ICA, which presents some of the best exhibitions and programs around. (Yes, I went there.) This summer, the ICA presents an immersive light and video installation by the amazing Amy M. Ho, one of my personal favorites, alongside exhibitions of work by the excellent Rebecca Haseltine, Cassandra Staubing, Naomie Kremer, and Sophia Allison and Leanne Lee. If I was you, I would dovetail my visit with a trip to the Winchester Mystery House – because, mystery – and hit up Falafel Drive In on Stevens Creek along the way for a falafel and a banana milkshake, just sayin’.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675905\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png\" alt=\"Pace Gallery's current exhibit (Courtesy of Pace Gallery)\" width=\"400\" height=\"269\" class=\"size-thumbnail wp-image-10675905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM.png 712w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pace Gallery’s current exhibit (Courtesy of Pace Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Group Exhibition (By Appointment Only)\u003c/h3>\n\u003ch5>Through August 22\u003cbr>\n\u003ca href=\"http://www.pacegallery.com/menlopark\" target=\"_blank\" rel=\"noopener\">Pace Gallery\u003c/a>\u003cbr>\n300 El Camino Real, Menlo Park\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Last summer New York powerhouse gallery PACE “Manhattanized” the Peninsula with a cool West coast outpost in a former Tesla dealership on El Camino Real. This unusual pop-up was only supposed to last just through the end of last year, but the gallery has quietly stayed on. Presently it offers a spectacular group show featuring works by Chuck Close and other international art stars. The gallery and exhibition is available to view by appointment only, so remember to call ahead before you go.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675908\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/broken-wing.jpg\" alt='\"Broken Wing\" by David Middlebrook, 2004. (Photo by Donna Guldimann)' width=\"335\" height=\"310\" class=\"size-thumbnail wp-image-10675908\">\u003cfigcaption class=\"wp-caption-text\">“Broken Wing” by David Middlebrook, 2004. (Photo by Donna Guldimann)\u003c/figcaption>\u003c/figure>\n\u003ch3>Art on the Grounds\u003c/h3>\n\u003ch5>Permanent installations – ongoing\u003cbr>\n\u003ca href=\"http://www.montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a>\u003cbr>\n15400 Montalvo Road, Saratoga\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Tucked away in a quiet residential area filled with jaw-dropping historic homes and estates, the Montalvo Arts Center is an oasis away from the Bay Area’s noisy hustle and traffic. In addition to an annual series of three rotating-group exhibitions featuring the work of artists-in-residence, the grounds at Montalvo also host temporary outdoor installations, as well as a number of permanent installations throughout its 175-acre property. This summer sees the temporary installation of five bronze sculptures by Stephen De Staebler, as well as the permanent installation of \u003cem>A Healing Walk\u003c/em> by the late Susan O’Malley. O’Malley’s walk, true to the nature of healing, is no simple task and leads visitors straight up hill. Those who endure are rewarded with some of the most extraordinary vistas the Bay Area has to offer, so don’t miss it.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "San Francisco can be brutally cold in the summer, so why not get away for a day and enjoy some wonderful art at these five destinations?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The coldest winter I ever spent was a summer in San Francisco,” Mark Twain once said, according to urban legend. Whether or not he said it hardly matters, so let’s not dwell on it — we all know the city can be miserable in the summer, so the timing is perfect for day trips elsewhere around the Bay Area to get your art fix and expand your horizons.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Each of these five spots promise a whole host of great things to see and do – and yes, eat (if you are from the Bay Area, I know where your priorities lie, don’t worry) – so plan to make it a sunny day of exploration. But before we start, a word to the wise if you actually live in the city: You’ll be heading to the best weather the region has to offer, so feel free to leave your fleece at home and prepare to have fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675760\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg\" alt='\"Untitled\" by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)' width=\"400\" height=\"241\" class=\"size-thumbnail wp-image-10675760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled” by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Blow Up\u003c/h3>\n\u003ch5>Through June 21\u003cbr>\n\u003ca href=\"http://www.bedfordgallery.org\" target=\"_blank\">Bedford Gallery\u003c/a>\u003cbr>\n1601 Civic Drive, Walnut Creek\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Putting this one right up front as it closes at the end of June – so make it a priority because I think this might end up being one of the best shows of the summer. \u003cem>Plus\u003c/em> kids will love it, making it a great choice for families. This summer’s group exhibition, \u003cem>Blow Up\u003c/em>, organized by longtime Bedford curator Carrie Lederer, features large-scale inflatable sculptures by a wild range of artists. From Warhol’s silver balloons to Momoyo Torimitsu’s giant carnival bunnies to Guy Overfelt’s blow up hot rod, there is something for every kid ages 1 – 111 to marvel at in wonder. Just three blocks from BART, so take the train and keep it simple.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675762\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg\" alt='\"Smoke Screen\" by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10675762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Smoke Screen” by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tongue-in-Cheek\u003c/h3>\n\u003ch5>Through July 19\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di rosa\u003c/a>\u003cbr>\n5200 Sonoma Hwy, Napa\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Nestled amidst rolling green hills, grapevines and a picturesque lake, di Rosa is an extraordinary Northern California art destination. Founded by the late collectors extraordinaire Rene and Veronica di Rosa, di Rosa is widely considered the most significant collection of Bay Area artists in the world, featuring works by Robert Arneson, Enrique Chagoya, Raymond Saunders, Allan Rath and Mildred Howard, among some 800 artists. The Gatehouse Gallery features rotating exhibitions, including this summer’s group show, \u003cem>Tongue-in-Cheek\u003c/em>, which focuses on disarmingly funny — and dare I say quirky? — Bay Area artists including Tammy Rae Carland, Jonn Herschend and Kate Rhoades, among others. Explore Napa for the day \u003cem>and\u003c/em> see the work of great Bay Area artists? Win, win.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675765\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg\" alt='\"Red Rooms\" by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)' width=\"400\" height=\"177\" class=\"size-thumbnail wp-image-10675765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-800x355.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho.jpg 952w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Red Rooms” by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy M. Ho: Red Rooms\u003c/h3>\n\u003ch5>Through Sept. 12\u003cbr>\n\u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener\">San Jose Institute of Contemporary Art\u003c/a>\u003cbr>\n560 South First Street, San Jose\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Okay, the cat’s outta the bag: San Jose has the best weather in the Bay Area. Plus it has the ICA, which presents some of the best exhibitions and programs around. (Yes, I went there.) This summer, the ICA presents an immersive light and video installation by the amazing Amy M. Ho, one of my personal favorites, alongside exhibitions of work by the excellent Rebecca Haseltine, Cassandra Staubing, Naomie Kremer, and Sophia Allison and Leanne Lee. If I was you, I would dovetail my visit with a trip to the Winchester Mystery House – because, mystery – and hit up Falafel Drive In on Stevens Creek along the way for a falafel and a banana milkshake, just sayin’.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675905\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png\" alt=\"Pace Gallery's current exhibit (Courtesy of Pace Gallery)\" width=\"400\" height=\"269\" class=\"size-thumbnail wp-image-10675905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM.png 712w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pace Gallery’s current exhibit (Courtesy of Pace Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Group Exhibition (By Appointment Only)\u003c/h3>\n\u003ch5>Through August 22\u003cbr>\n\u003ca href=\"http://www.pacegallery.com/menlopark\" target=\"_blank\" rel=\"noopener\">Pace Gallery\u003c/a>\u003cbr>\n300 El Camino Real, Menlo Park\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Last summer New York powerhouse gallery PACE “Manhattanized” the Peninsula with a cool West coast outpost in a former Tesla dealership on El Camino Real. This unusual pop-up was only supposed to last just through the end of last year, but the gallery has quietly stayed on. Presently it offers a spectacular group show featuring works by Chuck Close and other international art stars. The gallery and exhibition is available to view by appointment only, so remember to call ahead before you go.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675908\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/broken-wing.jpg\" alt='\"Broken Wing\" by David Middlebrook, 2004. (Photo by Donna Guldimann)' width=\"335\" height=\"310\" class=\"size-thumbnail wp-image-10675908\">\u003cfigcaption class=\"wp-caption-text\">“Broken Wing” by David Middlebrook, 2004. (Photo by Donna Guldimann)\u003c/figcaption>\u003c/figure>\n\u003ch3>Art on the Grounds\u003c/h3>\n\u003ch5>Permanent installations – ongoing\u003cbr>\n\u003ca href=\"http://www.montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a>\u003cbr>\n15400 Montalvo Road, Saratoga\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Tucked away in a quiet residential area filled with jaw-dropping historic homes and estates, the Montalvo Arts Center is an oasis away from the Bay Area’s noisy hustle and traffic. In addition to an annual series of three rotating-group exhibitions featuring the work of artists-in-residence, the grounds at Montalvo also host temporary outdoor installations, as well as a number of permanent installations throughout its 175-acre property. This summer sees the temporary installation of five bronze sculptures by Stephen De Staebler, as well as the permanent installation of \u003cem>A Healing Walk\u003c/em> by the late Susan O’Malley. O’Malley’s walk, true to the nature of healing, is no simple task and leads visitors straight up hill. Those who endure are rewarded with some of the most extraordinary vistas the Bay Area has to offer, so don’t miss it.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Celebrating the Life of Artist and Curator Susan O’Malley (1976–2015)",
"headTitle": "Celebrating the Life of Artist and Curator Susan O’Malley (1976–2015) | KQED",
"content": "\u003cp>Many people far and wide are reeling from news of the sudden passing of beloved Bay Area artist and curator Susan O’Malley, who collapsed last Wednesday and never regained consciousness while in her last week of pregnancy with twins, who survived only briefly. It is a catastrophic loss that cannot be softened. Now we must do the painful work of focusing on the life she lived and the optimism in her work, even as we grapple with incomprehensible tragedy. It is the only way forward to honor her life and celebrate her legacy.\u003c/p>\n\u003cp>O’Malley’s artwork is deeply engaged in social practice, participatory exchanges, public art and positive messaging. Often drawn from conversations, the work is generally text-based and takes the form of prints, posters and buttons, large-scale vinyl signage and billboards, as well as interventions, among other media. As a curator she worked with hundreds of artists to organize exhibitions for numerous organizations — she is widely recognized as a champion of diversity across culture, gender and age. Her rare generosity of spirit provided a tremendous example for those around her, myself included.\u003c/p>\n\u003cfigure id=\"attachment_10436437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive.jpg\" alt=\"The artist in her Berkeley studio. (Courtesy of www.susanomalley.org)\" width=\"640\" height=\"480\" class=\"size-full wp-image-10436437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive-320x240.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The artist in her Berkeley studio. (Courtesy of www.susanomalley.org)\u003c/figcaption>\u003c/figure>\n\u003cp>I first became friends with O’Malley in 2002 when we worked together at a gallery called HANG Art on University Ave. in Palo Alto. She had a great big infectious laugh, a sly humor and a complete indifference to the machinations of the so-called professional art world. If I didn’t know what to make of something, O’Malley always offered a clear sense of truth and fairness. She was a grounding presence and a true friend to many in a business where superficiality often reigns, delighting in projects that abandoned insular white cube galleries to meet people where they were in life. It tickled her to no end when her work was included in a mass-distributed book of inspirational illustrations; when her image from the book was later featured in a national circular ad for Target, she called it “a dream come true.”\u003c/p>\n\u003cp>We worked together on many projects over the years — crisscrossing back and forth in different situations. In 2005, I presented her \u003cem>Pep Talk Squad\u003c/em>, a performance-based project produced in collaboration with her best friend writer Christina Amini, under the auspices of S. O. R. T. (the Susan O’Malley Research Team); it offered scheduled pep talks to the public at Pro Arts, an Oakland nonprofit where I was then director of exhibitions and programs. She also participated in several projects with Invisible Venue, my alternative curatorial project.\u003c/p>\n\u003cp>All of O’Malley’s work, both as artist and curator, reflected a rare generosity and empathy for those around her — to the extent that her boundless enthusiasm sometimes baffled cynics unable to grasp the actual \u003cem>work\u003c/em> of optimism. But she knew it was work and she took it very seriously. Under her professional interests on LinkedIn, O’Malley listed: “Making the world a better place. Staying positive in a world that does the opposite.” Hers was a kind of radical positivity not often recognized because it defies every stereotype of radicalism. In a world bogged down daily by trauma in the media, she was a covert revolutionary with her bright colors, inspirational messages, encouragement, enthusiasm, and genuine personality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, she was no stranger to sorrow, and tackled personal challenges with a fierce and uncommon transparency around the pain of looking for brightness in difficult times. Her 2012 solo exhibition at Romer Young Gallery (formerly Ping Pong Gallery) featured work she created with her mother, who was rapidly declining from a rare and terminal neurological disease. A series of digital prints feature her mother’s pained handwriting, offering inspirational messages. In a statement posted online, O’Malley noted, “Everything was happening very rapidly, so I asked her to write down phrases she always says to me. I think she wrote me things both of us needed to remember.”\u003c/p>\n\u003cfigure id=\"attachment_10436439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly.jpg\" alt=\"Susan O'Malley, "More Beautiful Than You Ever Imagined," 2013. (Courtesy of The Thing Quarterly.)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10436439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, “More Beautiful Than You Ever Imagined,” 2013. (Courtesy of \u003ci>The Thing Quarterly.\u003c/i>)\u003c/figcaption>\u003c/figure>\n\u003cp>This work exemplified O’Malley’s way of focusing on happiness in her work: by being present in the grief of loss, by modeling acceptance for the things we can’t change and by defying death with a love for life. In recent days, many have shared images of her work online, offering timely reminders that she left behind a bevy of survival strategies, embedded in every artwork. Each image tells us to come together, to treat each other tenderly, to move forward with compassion. \u003cem>You can\u003c/em>, her work says. \u003cem>Be present. This is the center. You are here, awake and alive — and we are all in this together\u003c/em>.\u003c/p>\n\u003cp>O’Malley earned a BA in Urban Studies with a focus on Community Organizations from Stanford University and an MFA in Social Practices from California College of the Arts. Her work, with collaborator Leah Rosenberg, was recently featured in \u003cem>\u003ca href=\"http://www.ybca.org/programs/ban7\" target=\"_blank\" rel=\"noopener\">Bay Area Now 7\u003c/a>\u003c/em> at Yerba Buena Center for the Arts. She has also exhibited at numerous alternative spaces and institutions, including Contemporary Art Museum (Houston, TX), the Parthenon Museum (Nashville, TN), and Montalvo Art Center. Her work has been exhibited as public projects in San Francisco, New York, and London, as well in other cities around the U.S., Poland and Denmark.\u003c/p>\n\u003cfigure id=\"attachment_10436442\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013.jpg\" alt=\"Susan O'Malley, "print intervention," c. 2013. (Courtesy of the artist.)\" width=\"640\" height=\"444\" class=\"size-full wp-image-10436442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013-320x222.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, “print intervention,” c. 2013. (Courtesy of the artist.)\u003c/figcaption>\u003c/figure>\n\u003cp>As Curator and Print Center Director for San Jose Institute of Contemporary Art, O’Malley organized more than 50 exhibitions, including solo exhibitions of works by Hanna Hannah and Rene Young. Recently she taught socially engaged public art practices as visiting faculty at California State University, Monterey Bay. Her work is represented by Romer Young Gallery, San Francisco and Gallery Urbane, Dallas, and is presently on view at Wave Pool Gallery in Cincinnati, Ohio. A public art project, produced with support from Kala Art Institute, where she has been artist-in-residence, launches this week in print kiosks along San Pablo Avenue in West Berkeley. It is a timely continuation of her series \u003cem>Advice from my 80-year-old Self\u003c/em>, wherein she gathered often-humorous advice from seniors about how to live in the moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Susan O’Malley and her daughters Lucy and Reyna are survived by her husband and their father Tim Caro-Bruce, their loving families and many friends. A public family memorial is scheduled for March 9, 11am at Villa Montalvo, where she recently created an outdoor installation, that will be on view, as artist-in-residence. A public celebration of her life and contributions as an artist and curator is planned for March 22, from 2-5pm, at Yerba Buena Center for the Arts. In lieu of flowers, her family asks for donations to the Susan O’Malley Memorial Fund for the Arts. Details can be found on her participatory online memorial: \u003ca href=\"http://morebeautifulthanyoucouldeverimagine.com/\" target=\"_blank\" rel=\"noopener\">www.morebeautifulthanyoucouldeverimagine.com\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Christian L. Frock remembers the bright light and optimistic work of Susan O'Malley, a beloved Bay Area leader in the arts, gone too soon.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many people far and wide are reeling from news of the sudden passing of beloved Bay Area artist and curator Susan O’Malley, who collapsed last Wednesday and never regained consciousness while in her last week of pregnancy with twins, who survived only briefly. It is a catastrophic loss that cannot be softened. Now we must do the painful work of focusing on the life she lived and the optimism in her work, even as we grapple with incomprehensible tragedy. It is the only way forward to honor her life and celebrate her legacy.\u003c/p>\n\u003cp>O’Malley’s artwork is deeply engaged in social practice, participatory exchanges, public art and positive messaging. Often drawn from conversations, the work is generally text-based and takes the form of prints, posters and buttons, large-scale vinyl signage and billboards, as well as interventions, among other media. As a curator she worked with hundreds of artists to organize exhibitions for numerous organizations — she is widely recognized as a champion of diversity across culture, gender and age. Her rare generosity of spirit provided a tremendous example for those around her, myself included.\u003c/p>\n\u003cfigure id=\"attachment_10436437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive.jpg\" alt=\"The artist in her Berkeley studio. (Courtesy of www.susanomalley.org)\" width=\"640\" height=\"480\" class=\"size-full wp-image-10436437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_You-are-here-awake-and-alive-320x240.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The artist in her Berkeley studio. (Courtesy of www.susanomalley.org)\u003c/figcaption>\u003c/figure>\n\u003cp>I first became friends with O’Malley in 2002 when we worked together at a gallery called HANG Art on University Ave. in Palo Alto. She had a great big infectious laugh, a sly humor and a complete indifference to the machinations of the so-called professional art world. If I didn’t know what to make of something, O’Malley always offered a clear sense of truth and fairness. She was a grounding presence and a true friend to many in a business where superficiality often reigns, delighting in projects that abandoned insular white cube galleries to meet people where they were in life. It tickled her to no end when her work was included in a mass-distributed book of inspirational illustrations; when her image from the book was later featured in a national circular ad for Target, she called it “a dream come true.”\u003c/p>\n\u003cp>We worked together on many projects over the years — crisscrossing back and forth in different situations. In 2005, I presented her \u003cem>Pep Talk Squad\u003c/em>, a performance-based project produced in collaboration with her best friend writer Christina Amini, under the auspices of S. O. R. T. (the Susan O’Malley Research Team); it offered scheduled pep talks to the public at Pro Arts, an Oakland nonprofit where I was then director of exhibitions and programs. She also participated in several projects with Invisible Venue, my alternative curatorial project.\u003c/p>\n\u003cp>All of O’Malley’s work, both as artist and curator, reflected a rare generosity and empathy for those around her — to the extent that her boundless enthusiasm sometimes baffled cynics unable to grasp the actual \u003cem>work\u003c/em> of optimism. But she knew it was work and she took it very seriously. Under her professional interests on LinkedIn, O’Malley listed: “Making the world a better place. Staying positive in a world that does the opposite.” Hers was a kind of radical positivity not often recognized because it defies every stereotype of radicalism. In a world bogged down daily by trauma in the media, she was a covert revolutionary with her bright colors, inspirational messages, encouragement, enthusiasm, and genuine personality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, she was no stranger to sorrow, and tackled personal challenges with a fierce and uncommon transparency around the pain of looking for brightness in difficult times. Her 2012 solo exhibition at Romer Young Gallery (formerly Ping Pong Gallery) featured work she created with her mother, who was rapidly declining from a rare and terminal neurological disease. A series of digital prints feature her mother’s pained handwriting, offering inspirational messages. In a statement posted online, O’Malley noted, “Everything was happening very rapidly, so I asked her to write down phrases she always says to me. I think she wrote me things both of us needed to remember.”\u003c/p>\n\u003cfigure id=\"attachment_10436439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly.jpg\" alt=\"Susan O'Malley, "More Beautiful Than You Ever Imagined," 2013. (Courtesy of The Thing Quarterly.)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10436439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_More-Beautiful-Than-You-Ever-Imagined_Courtesy-of-The-Thing-Quarterly-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, “More Beautiful Than You Ever Imagined,” 2013. (Courtesy of \u003ci>The Thing Quarterly.\u003c/i>)\u003c/figcaption>\u003c/figure>\n\u003cp>This work exemplified O’Malley’s way of focusing on happiness in her work: by being present in the grief of loss, by modeling acceptance for the things we can’t change and by defying death with a love for life. In recent days, many have shared images of her work online, offering timely reminders that she left behind a bevy of survival strategies, embedded in every artwork. Each image tells us to come together, to treat each other tenderly, to move forward with compassion. \u003cem>You can\u003c/em>, her work says. \u003cem>Be present. This is the center. You are here, awake and alive — and we are all in this together\u003c/em>.\u003c/p>\n\u003cp>O’Malley earned a BA in Urban Studies with a focus on Community Organizations from Stanford University and an MFA in Social Practices from California College of the Arts. Her work, with collaborator Leah Rosenberg, was recently featured in \u003cem>\u003ca href=\"http://www.ybca.org/programs/ban7\" target=\"_blank\" rel=\"noopener\">Bay Area Now 7\u003c/a>\u003c/em> at Yerba Buena Center for the Arts. She has also exhibited at numerous alternative spaces and institutions, including Contemporary Art Museum (Houston, TX), the Parthenon Museum (Nashville, TN), and Montalvo Art Center. Her work has been exhibited as public projects in San Francisco, New York, and London, as well in other cities around the U.S., Poland and Denmark.\u003c/p>\n\u003cfigure id=\"attachment_10436442\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013.jpg\" alt=\"Susan O'Malley, "print intervention," c. 2013. (Courtesy of the artist.)\" width=\"640\" height=\"444\" class=\"size-full wp-image-10436442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Susan-OMalley_Public-Interventions_2013-320x222.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, “print intervention,” c. 2013. (Courtesy of the artist.)\u003c/figcaption>\u003c/figure>\n\u003cp>As Curator and Print Center Director for San Jose Institute of Contemporary Art, O’Malley organized more than 50 exhibitions, including solo exhibitions of works by Hanna Hannah and Rene Young. Recently she taught socially engaged public art practices as visiting faculty at California State University, Monterey Bay. Her work is represented by Romer Young Gallery, San Francisco and Gallery Urbane, Dallas, and is presently on view at Wave Pool Gallery in Cincinnati, Ohio. A public art project, produced with support from Kala Art Institute, where she has been artist-in-residence, launches this week in print kiosks along San Pablo Avenue in West Berkeley. It is a timely continuation of her series \u003cem>Advice from my 80-year-old Self\u003c/em>, wherein she gathered often-humorous advice from seniors about how to live in the moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Susan O’Malley and her daughters Lucy and Reyna are survived by her husband and their father Tim Caro-Bruce, their loving families and many friends. A public family memorial is scheduled for March 9, 11am at Villa Montalvo, where she recently created an outdoor installation, that will be on view, as artist-in-residence. A public celebration of her life and contributions as an artist and curator is planned for March 22, from 2-5pm, at Yerba Buena Center for the Arts. In lieu of flowers, her family asks for donations to the Susan O’Malley Memorial Fund for the Arts. Details can be found on her participatory online memorial: \u003ca href=\"http://morebeautifulthanyoucouldeverimagine.com/\" target=\"_blank\" rel=\"noopener\">www.morebeautifulthanyoucouldeverimagine.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Unpacking Rirkrit Tiravanija’s Curatorial Project ‘The Way Things Go’ at YBCA",
"headTitle": "Unpacking Rirkrit Tiravanija’s Curatorial Project ‘The Way Things Go’ at YBCA | KQED",
"content": "\u003cp>This month, international artist Rirkrit Tiravanija — a darling of the biennial art circuit from São Paulo to Venice to Gwangju — descended on the Bay Area for \u003cem>The Ways Things Go\u003c/em> at Yerba Buena Center for the Arts. The exhibition, curated by Tiravanija in collaboration with YBCA’s former director of visual arts Betti-Sue Hertz, broadly considers real and imagined narratives of globalized migration and trade, signified by food and other items of cultural significance. It invariably also touches on histories of colonialism, labor and displacement, but more as a matter of anthropological note than a call to arms, which given the current climate seems to be something of a missed opportunity. The curatorial objective is sometimes unclear, as are some of the relationships between selected works, resulting in a beautifully executed exhibition with a world-class roster and, at various times, uncertain intentions.\u003c/p>\n\u003cp>Born in Buenos Aires and raised in Thailand, Ethiopia and Canada, Tiravanija now divides his time between New York, Berlin and Chiang Mai. His work came to prominence in the 1990s under the auspices of “relational aesthetics,” a concept put forth in the book of the same name by French curator Nicolas Bourriaud, referring to a style of art making dependent upon social engagement. Today, Tiravanija’s work spans art, architecture and curation, all of which still bears some relation to relational aesthetics.\u003c/p>\n\u003cfigure id=\"attachment_10423266\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/GettyImages_459882894.jpg\" alt=\"Rirkrit Tiravanija (left) and guest attend the the New York Times International Luxury Conference Gala at Perez Art Museum Miami. (Photo: Larry Busacca/Getty Images for The New York Times International Luxury Conference)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10423266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GettyImages_459882894.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GettyImages_459882894-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GettyImages_459882894-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rirkrit Tiravanija (left) and guest attend the the New York Times International Luxury Conference Gala at Perez Art Museum Miami. (Photo: Larry Busacca/Getty Images for The New York Times International Luxury Conference)\u003c/figcaption>\u003c/figure>\n\u003cp>Tiravanija’s current exhibition at YBCA features work by individual artists and a number of collectives, including Maria Thereza Alves, Michael Arcega, Lonnie van Brummelen and Siebren de Haan, Peter Fischli and David Weiss, Camille Henrot, Luc Moullet, Museum of Gourd, the National Bitter Melon Council, Pratchaya Phintong, Arin Rungjang, Thasnai Sethaseree, Shimabuku, Superflex, and the Propeller Group. Drawing, film, sculpture and installations dominate the exhibition, with most work demanding a vested interest in discovering meaning. There is scant wall text to provide context, a flatly ungenerous curatorial decision, though in his brochure text Tiravanija indirectly alludes to his reasoning by addressing a collective tendency to superficially consume bites of information online and thereby attempts to redirect attention to “the visible which is not obvious.” (One could also say the same of the very tiny font in the brochure.)\u003c/p>\n\u003cp>Even as the exhibition seeks to create a global framework for considering migration, one work addresses the current local atmosphere. The National Bitter Melon Council — artists Jeremy Liu and Hiroko Kikuchi — presents \u003cem>San Francisco de Goya: A Better Bitter \u003c/em>(2015); it is situated in a windowed street-side gallery facing Mission Street, and it invites viewers to write their own stories of bitterness, presumably many of which are associated with the changing city. These stories will then be translated as ingredients and combined, via a “bitterness algorithm,” to create new condiments from “the bitterness of San Francisco.” Visible from the windows on the street, a series of placards announce now-familiar local refrains including “I’m bitter on the inside…” and “I left but I’m still bitter…”\u003c/p>\n\u003cfigure id=\"attachment_10423269\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere.jpg\" alt='Thasnai Sethaseree, Untitled (from <em>make it like home... anywhere?\"</em>, 2002-2014).' width=\"640\" height=\"640\" class=\"size-full wp-image-10423269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thasnai Sethaseree, Untitled (from \u003cem>make it like home… anywhere?”\u003c/em>, 2002-2014).\u003c/figcaption>\u003c/figure>\n\u003cp>Lonnie van Brummelen and Siebren de Haan’s \u003cem>Monument of Sugar\u003c/em> 2007 includes a 16-millimeter silent film essay that explores the labor-intensive sugar trade. The film is meant to be accompanied by an installation of sugar blocks, which in reality is tied up in transit somewhere en route. The absence of the sculpture, its planned footprint outlined in tape on the floor near the film, offers a different consideration of global trade, as much as its (likely aromatic) presence, whenever it arrives, will prompt consideration of its production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arin Rungjang’s hanging sculpture, consisting of 5,500 hammered brass teardrops suspended in space, accompanies a film that unpacks the ancient hybrid origins of Thong Yod, a common Thai dessert made from duck egg yolks, mixed flours, copious sugar and fresh water. Rungjang’s sculpture functions like a visual cornerstone of the exhibition, symbolizing complex histories, hybrid identities, the sensual pleasures of food and the sometimes dazzling effect of objects.\u003c/p>\n\u003cfigure id=\"attachment_10423277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/P5303038.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/P5303038.jpg\" alt='Arin Rungjang, \"Golden Teardrop,\" 2013. (Courtesy of the artist and the Office of Contemporary Art and Culture)' width=\"640\" height=\"427\" class=\"size-full wp-image-10423277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/P5303038.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/P5303038-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/P5303038-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arin Rungjang, “Golden Teardrop,” 2013. (Courtesy of the artist and the Office of\u003cbr>Contemporary Art and Culture)\u003c/figcaption>\u003c/figure>\n\u003cp>Public programs associated with the exhibition have been extensive, including lectures at the San Francisco Art Institute and the David Brower Center, in association with the UC Berkeley Arts Research Center and the UC Berkeley Center for New Media, in addition to a shared meal orchestrated by Tiravanija at Headlands Center for the Arts, where he is also currently artist-in-residence. This complex web of public events reflects the social components of his artwork, drawing people together to create experiences.\u003c/p>\n\u003cp>Prior to the meal at the Headlands, Tiravanija talked about the origins of his relational art practice: dinners in his small apartment with an expansive network of friends who just kept showing up every week for simple curries, often drawn from his grandmother’s recipes. Over the course of the evening, he moved between tables with a glass of wine in hand, talking and sharing stories about current and upcoming projects, including an environmental project involving the development of an artist-designed coral reef barrier in Khao Lak, Thailand, and an upcoming solo exhibition at the Garage Museum of Contemporary Art in Moscow. By the end of this week, he’ll be gone again — on to the next project in the next place, a living, roving example of an international artist and, to a certain extent, the way things go indeed. For those of us intent on staying, the exhibition and its layered meanings remains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Way Things Go’ is on view at Yerba Buena Center for the Arts through May 24. Upcoming public programs include “Converge: Foodie,” hosted by artist Michael Arcega, on Thursday, Mar. 19, from 4–8pm. For \u003ca href=\"http://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit www.ybca.org.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, international artist Rirkrit Tiravanija — a darling of the biennial art circuit from São Paulo to Venice to Gwangju — descended on the Bay Area for \u003cem>The Ways Things Go\u003c/em> at Yerba Buena Center for the Arts. The exhibition, curated by Tiravanija in collaboration with YBCA’s former director of visual arts Betti-Sue Hertz, broadly considers real and imagined narratives of globalized migration and trade, signified by food and other items of cultural significance. It invariably also touches on histories of colonialism, labor and displacement, but more as a matter of anthropological note than a call to arms, which given the current climate seems to be something of a missed opportunity. The curatorial objective is sometimes unclear, as are some of the relationships between selected works, resulting in a beautifully executed exhibition with a world-class roster and, at various times, uncertain intentions.\u003c/p>\n\u003cp>Born in Buenos Aires and raised in Thailand, Ethiopia and Canada, Tiravanija now divides his time between New York, Berlin and Chiang Mai. His work came to prominence in the 1990s under the auspices of “relational aesthetics,” a concept put forth in the book of the same name by French curator Nicolas Bourriaud, referring to a style of art making dependent upon social engagement. Today, Tiravanija’s work spans art, architecture and curation, all of which still bears some relation to relational aesthetics.\u003c/p>\n\u003cfigure id=\"attachment_10423266\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/GettyImages_459882894.jpg\" alt=\"Rirkrit Tiravanija (left) and guest attend the the New York Times International Luxury Conference Gala at Perez Art Museum Miami. (Photo: Larry Busacca/Getty Images for The New York Times International Luxury Conference)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10423266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GettyImages_459882894.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GettyImages_459882894-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GettyImages_459882894-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rirkrit Tiravanija (left) and guest attend the the New York Times International Luxury Conference Gala at Perez Art Museum Miami. (Photo: Larry Busacca/Getty Images for The New York Times International Luxury Conference)\u003c/figcaption>\u003c/figure>\n\u003cp>Tiravanija’s current exhibition at YBCA features work by individual artists and a number of collectives, including Maria Thereza Alves, Michael Arcega, Lonnie van Brummelen and Siebren de Haan, Peter Fischli and David Weiss, Camille Henrot, Luc Moullet, Museum of Gourd, the National Bitter Melon Council, Pratchaya Phintong, Arin Rungjang, Thasnai Sethaseree, Shimabuku, Superflex, and the Propeller Group. Drawing, film, sculpture and installations dominate the exhibition, with most work demanding a vested interest in discovering meaning. There is scant wall text to provide context, a flatly ungenerous curatorial decision, though in his brochure text Tiravanija indirectly alludes to his reasoning by addressing a collective tendency to superficially consume bites of information online and thereby attempts to redirect attention to “the visible which is not obvious.” (One could also say the same of the very tiny font in the brochure.)\u003c/p>\n\u003cp>Even as the exhibition seeks to create a global framework for considering migration, one work addresses the current local atmosphere. The National Bitter Melon Council — artists Jeremy Liu and Hiroko Kikuchi — presents \u003cem>San Francisco de Goya: A Better Bitter \u003c/em>(2015); it is situated in a windowed street-side gallery facing Mission Street, and it invites viewers to write their own stories of bitterness, presumably many of which are associated with the changing city. These stories will then be translated as ingredients and combined, via a “bitterness algorithm,” to create new condiments from “the bitterness of San Francisco.” Visible from the windows on the street, a series of placards announce now-familiar local refrains including “I’m bitter on the inside…” and “I left but I’m still bitter…”\u003c/p>\n\u003cfigure id=\"attachment_10423269\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere.jpg\" alt='Thasnai Sethaseree, Untitled (from <em>make it like home... anywhere?\"</em>, 2002-2014).' width=\"640\" height=\"640\" class=\"size-full wp-image-10423269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Thasnai_make-it-like-home-anywhere-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thasnai Sethaseree, Untitled (from \u003cem>make it like home… anywhere?”\u003c/em>, 2002-2014).\u003c/figcaption>\u003c/figure>\n\u003cp>Lonnie van Brummelen and Siebren de Haan’s \u003cem>Monument of Sugar\u003c/em> 2007 includes a 16-millimeter silent film essay that explores the labor-intensive sugar trade. The film is meant to be accompanied by an installation of sugar blocks, which in reality is tied up in transit somewhere en route. The absence of the sculpture, its planned footprint outlined in tape on the floor near the film, offers a different consideration of global trade, as much as its (likely aromatic) presence, whenever it arrives, will prompt consideration of its production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arin Rungjang’s hanging sculpture, consisting of 5,500 hammered brass teardrops suspended in space, accompanies a film that unpacks the ancient hybrid origins of Thong Yod, a common Thai dessert made from duck egg yolks, mixed flours, copious sugar and fresh water. Rungjang’s sculpture functions like a visual cornerstone of the exhibition, symbolizing complex histories, hybrid identities, the sensual pleasures of food and the sometimes dazzling effect of objects.\u003c/p>\n\u003cfigure id=\"attachment_10423277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/P5303038.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/P5303038.jpg\" alt='Arin Rungjang, \"Golden Teardrop,\" 2013. (Courtesy of the artist and the Office of Contemporary Art and Culture)' width=\"640\" height=\"427\" class=\"size-full wp-image-10423277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/P5303038.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/P5303038-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/P5303038-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arin Rungjang, “Golden Teardrop,” 2013. (Courtesy of the artist and the Office of\u003cbr>Contemporary Art and Culture)\u003c/figcaption>\u003c/figure>\n\u003cp>Public programs associated with the exhibition have been extensive, including lectures at the San Francisco Art Institute and the David Brower Center, in association with the UC Berkeley Arts Research Center and the UC Berkeley Center for New Media, in addition to a shared meal orchestrated by Tiravanija at Headlands Center for the Arts, where he is also currently artist-in-residence. This complex web of public events reflects the social components of his artwork, drawing people together to create experiences.\u003c/p>\n\u003cp>Prior to the meal at the Headlands, Tiravanija talked about the origins of his relational art practice: dinners in his small apartment with an expansive network of friends who just kept showing up every week for simple curries, often drawn from his grandmother’s recipes. Over the course of the evening, he moved between tables with a glass of wine in hand, talking and sharing stories about current and upcoming projects, including an environmental project involving the development of an artist-designed coral reef barrier in Khao Lak, Thailand, and an upcoming solo exhibition at the Garage Museum of Contemporary Art in Moscow. By the end of this week, he’ll be gone again — on to the next project in the next place, a living, roving example of an international artist and, to a certain extent, the way things go indeed. For those of us intent on staying, the exhibition and its layered meanings remains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Way Things Go’ is on view at Yerba Buena Center for the Arts through May 24. Upcoming public programs include “Converge: Foodie,” hosted by artist Michael Arcega, on Thursday, Mar. 19, from 4–8pm. For \u003ca href=\"http://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit www.ybca.org.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Finding Beauty Along the Edges: Remembering Rex Ray (1956–2015)",
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"content": "\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "#JeSuisCharlie: Artists Go Viral in Solidarity with Slain French Journalists",
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"content": "\u003cp>Today in Paris armed extremists stormed the office of French satirical publication \u003cem>Charlie Hebdo \u003c/em>and opened fire, reportedly killing 12 people, including two police officers, and injuring some 20 others, several of whom are suffering life-threatening injuries. Among the dead are editor Stéphane Charbonnier and cartoonists Jean Cabut, Bernard Verlhac and Georges Wolinski, as well as columnist Bernard Maris – further names have yet to be released. The three hooded gunmen fled with a stolen car – several witnesses filmed the event with cell phone cameras, including the moment when assailants shouted, in French, “We killed \u003cem>Charlie Hebdo\u003c/em>” and “We have avenged the prophet” in what is widely considered a reference to the publication’s satirical depictions of the prophet Muhammad.\u003c/p>\n\u003cp>In Washington, \u003ca href=\"http://www.washingtonpost.com/world/europe/gunmen-storm-paris-satirical-newspaper-killing-at-least-11/2015/01/07/f358b17a-9660-11e4-aabd-d0b93ff613d5_story.html\">Secretary of State John F. Kerry responded to the attacks\u003c/a> by saying, “The murderers dared proclaim \u003cem>Charlie Hebdo\u003c/em> is dead. But make no mistake, they are wrong. Today, and tomorrow, in Paris, in France and across the world, the freedom of expression this magazine represented is not able to be killed by this kind of act of terror.” It is the deadliest terrorist attack in France since 1995, when an Algerian rebel group killed eight people in a string of bombings over several months. \u003cem>Charlie Hebdo\u003c/em> had come under attack more recently; it’s offices were firebombed in 2011, after the magazine published a cartoon of the prophet Muhammad.\u003c/p>\n\u003cp>People immediately took to the streets in cities around the world to demonstrate solidarity with the slain journalists and artists – many were also swift to respond online with #JeSuisCharlie (I am Charlie), among other hashtags including #CharlieHebdo. Artists all over the world posted cartoons in honor of the cartoonists and the freedom of speech their work represented — this is a mere sampling, with many more anticipated in the days to come, online and in print. This brutal attempt at silence has only amplified the need for freedom of expression, and the Internet has provided a platform for the world to respond. Long live \u003cem>Charlie Hebdo.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/RobTornoe/status/552884253563039744\u003c/p>\n\u003cp>https://twitter.com/RLOppenheimer/status/552848047089405952\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/TheMagnusShaw/status/552870218545238018\u003c/p>\n\u003cp>https://twitter.com/lalodagach/status/552944024613826560\u003c/p>\n\u003cp>https://twitter.com/MonsieurDream/status/552831150134415360\u003c/p>\n\u003cp>https://twitter.com/AnnTelnaes/status/552853991814492160\u003c/p>\n\u003cp>https://twitter.com/davpope/status/552844593046097920\u003c/p>\n\u003cp>https://twitter.com/jean_jullien/status/552829637215408128\u003c/p>\n\u003cp>https://twitter.com/seattlesketcher/status/552891818791010305\u003c/p>\n\u003cp>https://twitter.com/stephen_strydom/status/552848478196736000\u003c/p>\n\u003cp>https://twitter.com/ZOKO77/status/552919903104434176\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Independent/status/552877342394433536\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today in Paris armed extremists stormed the office of French satirical publication \u003cem>Charlie Hebdo \u003c/em>and opened fire, reportedly killing 12 people, including two police officers, and injuring some 20 others, several of whom are suffering life-threatening injuries. Among the dead are editor Stéphane Charbonnier and cartoonists Jean Cabut, Bernard Verlhac and Georges Wolinski, as well as columnist Bernard Maris – further names have yet to be released. The three hooded gunmen fled with a stolen car – several witnesses filmed the event with cell phone cameras, including the moment when assailants shouted, in French, “We killed \u003cem>Charlie Hebdo\u003c/em>” and “We have avenged the prophet” in what is widely considered a reference to the publication’s satirical depictions of the prophet Muhammad.\u003c/p>\n\u003cp>In Washington, \u003ca href=\"http://www.washingtonpost.com/world/europe/gunmen-storm-paris-satirical-newspaper-killing-at-least-11/2015/01/07/f358b17a-9660-11e4-aabd-d0b93ff613d5_story.html\">Secretary of State John F. Kerry responded to the attacks\u003c/a> by saying, “The murderers dared proclaim \u003cem>Charlie Hebdo\u003c/em> is dead. But make no mistake, they are wrong. Today, and tomorrow, in Paris, in France and across the world, the freedom of expression this magazine represented is not able to be killed by this kind of act of terror.” It is the deadliest terrorist attack in France since 1995, when an Algerian rebel group killed eight people in a string of bombings over several months. \u003cem>Charlie Hebdo\u003c/em> had come under attack more recently; it’s offices were firebombed in 2011, after the magazine published a cartoon of the prophet Muhammad.\u003c/p>\n\u003cp>People immediately took to the streets in cities around the world to demonstrate solidarity with the slain journalists and artists – many were also swift to respond online with #JeSuisCharlie (I am Charlie), among other hashtags including #CharlieHebdo. Artists all over the world posted cartoons in honor of the cartoonists and the freedom of speech their work represented — this is a mere sampling, with many more anticipated in the days to come, online and in print. This brutal attempt at silence has only amplified the need for freedom of expression, and the Internet has provided a platform for the world to respond. Long live \u003cem>Charlie Hebdo.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Recently \u003cem>New York Times\u003c/em> film critic A. O. Scott \u003ca href=\"http://www.nytimes.com/2014/11/30/arts/is-our-art-equal-to-the-challenges-of-our-times.html?_r=0\" target=\"_blank\" rel=\"noopener\">asked\u003c/a>, “Is our art equal to the challenge of our times?” Querying the role of culture en masse (films, music, books, theatre and, yes, visual art), Scott expressed a vague disappointment with today’s artists in addressing the issues of our era, from wealth disparity to racial inequality to climate change to violence, and so on. To this question, I would say if you don’t know, you haven’t been paying attention — or perhaps more gently put, look beyond what you think you already know. \u003c/p>\n\u003cp>Expecting today’s radical culture to look like the radical culture of yesteryear is a mistake. Scott cites select standards of bygone eras as iconic masterworks in times of upheaval, including \u003cem>A Raisin in the Sun\u003c/em> and Woody Guthrie songs, without seeming to dwell much on the contemporary shifts that have enabled far greater opportunities for self-expression and resistance, chiefly social media and a networked global community. In the future, 2014 will be considered a watershed historical moment with radical shifts in art, culture, collective communities and action — this article is a mere sample of highlights from the year in which art, collective action and social media changed everything.\u003c/p>\n\u003cp>But first, take note: As is well known, in July the world witnessed the homicide of Staten Island resident Eric Garner at the hands of police — Garner’s death was filmed with a cell phone camera by his friend Ramsey Orta in a video that went viral online. It is one of the most astonishing examples of citizen journalism the world has seen, for the way in which it presents a clear miscarriage of justice and for the way in which it has been freely and publicly distributed, bypassing conventional journalism and documentary filmmaking. \u003c/p>\n\u003cp>Soon after, Orta was indicted on unrelated weapons charges, in an act of possible retribution for exposing the police — a online \u003ca href=\"https://www.change.org/p/nypd-drop-the-weapons-charge-against-ramsey-orta-the-filmmaker-of-eric-garner-s-death\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calls upon the NYPD to drop these charges, not only as a matter of protecting Orta as a whistleblower, but to also defend the rights of citizens to film or photograph the police. \u003c/p>\n\u003cp>It is impossible to imagine this historical moment without the evidence of Orta’s video. I am not arguing that Orta’s video is an artwork, but it has been a catalyst for many of the actions, artworks and generative dialogs about racism, police brutality/militarization, civil rights and protest that have come after it. The precariousness of his situation now, and his virtual disappearance from the media, represents a grave threat not only to his own personal freedom, but to our own. Speaking up on Orta’s behalf now is a matter of protecting everyone’s freedom to stand up to injustice in the future.\u003c/p>\n\u003ch3>#BlackLivesMatter #BrownLivesMatter #Ferguson #Eric Garner #ICantBreathe #AllLivesMatter #NoJusticeNoPeace\u003c/h3>\n\u003cp>This was the year \u003ca href=\"http://www.huffingtonpost.com/2014/08/30/un-police-brutality-stand-your-ground_n_5740734.html\" target=\"_blank\" rel=\"noopener\">the United Nations condemned U.S. police brutality\u003c/a> on the global stage. It was also the year \u003ca href=\"http://www.theguardian.com/culture/2014/mar/08/steve-mcqueen-artist-big-screen-oscar-12-years-a-slave\" target=\"_blank\" rel=\"noopener\">artist Steve McQueen won an Oscar at the Academy Awards\u003c/a> for Best Picture with \u003cem>12 Years a Slave\u003c/em>, the first black filmmaker and the first visual artist in history to win the award. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T_7ErkQFduQ\u003c/p>\n\u003cp>In Missouri, protestors took to the streets to demonstrate against the killing of Michael Brown, an unarmed 18-year-old African American, and some took to the St. Louis Symphony to disrupt business as usual, captured in videos that went viral on YouTube. Mary Engelbreit, the sweetly saccharine illustrator of cherry pies and cats, among other innocuous images, created \u003ca href=\"https://www.maryengelbreit.com/store/In-The-USA-Fine-Print.html\">a protest print to benefit the Brown family\u003c/a> – at last count, she had raised more than $100,000. \u003c/p>\n\u003cp>This fall, St. Louis-based street artist Damon Davis wheat-pasted iconic images of hands throughout Ferguson, in a gesture that has been \u003ca href=\"http://mic.com/articles/104908/ferguson-now-has-the-most-powerful-street-art-in-america\" target=\"_blank\" rel=\"noopener\">called\u003c/a> by some “the most powerful street art in America.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rwsg3pnyxd4\u003c/p>\n\u003cp>Immediately following the non-indictment in the Garner case, Congressman Hank Johnson performed an original protest poem on the floor of the U.S. House of Representatives, in an unconventional example of government moving more quickly than artists. (Congress has artists, who knew?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_K_l7802qZ8\u003c/p>\n\u003cp>Perhaps the most iconic moments of resistance in 2014 include mass die-in protests all over the world — from Grand Central Station to shopping malls to city streets to schools to hospitals, people laid down in protest to declare that black lives matter, brown lives matter and all lives matter. Twitter released a\u003ca href=\"http://srogers.cartodb.com/viz/3ecef0b4-7cae-11e4-8bbb-0e9d821ea90d/embed_map\" target=\"_blank\" rel=\"noopener\"> data rendering of iconic hashtags tweeted around the world in a single day\u003c/a> and the image was captivating, yielding the powerful objections of a dispersed global community. Organizers in New York initiated Millions March, “A Day of Anger,” and millions took to the street everywhere – \u003ca href=\"http://instagram.com/p/wj8bGkxAWe/\">French Street artist JR’s protest images of Eric Garner’s eyes\u003c/a> became an icon of the movement.\u003c/p>\n\u003cp>In the Bay Area we saw many gestures of solidarity with local victims of police brutality. \u003ca href=\"http://justice4alexnieto.org/\">Justice 4 Alex Nieto\u003c/a>, a community action group organized around the unresolved homicide of Mission resident Alex Nieto at the hands of SFPD in March of this year, organized numerous actions and disruptions, including \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15370949524/\">protest banners at AT&T Park featuring the work of local artist Oree Originol\u003c/a> during the playoffs and World Series. (Remember those \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15373522863/\" target=\"_blank\" rel=\"noopener\">iconic sails\u003c/a> in McCovey Cove?) \u003c/p>\n\u003cp>The Anti-Eviction Mapping Project (AMP), an action group spearheaded by artist and organizer Erin McEloy, among other organizers, released a new \u003ca href=\"http://antievictionmap.squarespace.com/#/new-gallery-1/\" target=\"_blank\" rel=\"noopener\">map detailing police-related deaths in Oakland\u003c/a> from the 1970s to today, revealing that 99% of the victims have been people of color. AMP, of course, has also been instrumental in revealing lopsided data associated with gentrification, evictions and displacement as a result of new tech wealth in the city – to the extent that their work is regularly cited in \u003ca href=\"http://justice4alexnieto.org/2014/12/10/news-supervisor-avalos-introduces-resolution-to-address-racial-profiling-and-use-of-force-by-sfpd-upholds-right-to-nonviolent-protest-alex-nieto-case-cited/\" target=\"_blank\" rel=\"noopener\">the development of new city policies\u003c/a> regarding both police brutality and gentrification.\u003c/p>\n\u003cp>This summer, longtime San Francisco resident and pioneering Chicana artist Yolanda López forced the issues of elder displacement and gentrification with \u003ca href=\"http://ww2.kqed.org/arts/2014/07/01/notes-from-yolanda-m-lopezs-accessories-to-an-eviction/\">her performance project \u003cem>Accessories to an Eviction\u003c/em>\u003c/a> and held public rummage sales in various art venues to narrow her lifetime possessions and raise money in the face of her forthcoming eviction from her home of several decades.\u003c/p>\n\u003cp>Meanwhile, on the heels of numerous nonprofit and commercial galleries being forced to relocate or shutter and in the wake of \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts, the city’s oldest nonprofit, suspending programs\u003c/a>, the Bay Area art community rallied around the revival of The Lab and raised more than $54,000 via \u003ca href=\"https://www.kickstarter.com/projects/buildthelab/build-the-lab\" target=\"_blank\" rel=\"noopener\">Kickstarter\u003c/a> with 601 micro-funders. (In March, Kickstarter announced a milestone billion dollars in crowd-funding initiatives, with more than 5.7M funders worldwide.)\u003c/p>\n\u003cp>Digital rights and privacy were never far from public discourse – this fall Edward Snowden \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/01/29/268421741/edward-snowden-is-nominated-for-the-nobel-peace-prize\" target=\"_blank\" rel=\"noopener\">was nominated for\u003c/a> the Nobel Peace Prize for outing government surveillance, a story that was featured in the Laura Poitras-directed documentary \u003ca href=\"https://citizenfourfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Citizenfour\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Artist Trevor Paglen, who also contributed cinematography to the film, was recognized by the \u003ca href=\"http://ww2.kqed.org/arts/2014/10/07/the-electronic-frontier-foundation-honors-counter-surveillance-artist-trevor-paglen/\">Electronic Frontier Foundation with the Pioneer Award\u003c/a>, the first in the prize’s history to go to a visual artist, for his open source photographs of secret government agencies, the NSA among them.\u003c/p>\n\u003ch3>#YesAllWomen #IBelieveHer #BringBackOurGirls\u003cbr>\n\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=zyNa9kqq8mk\u003c/p>\n\u003cp>Women’s rights came to the fore in the national dialog about violence against women. In her Ray Rice-inspired make-up tutorial on YouTube, after the athlete was exposed for spousal abuse, young filmmaker Megan MacKay asked, while applying orange-tinted makeup, “Orange you sad that the American news source most dedicated to truthful journalism turned out to be TMZ?” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mpepzxQJ-AA\u003c/p>\n\u003cp>Meanwhile in New York, Colombia University art student Emma Sulkowicz has exposed the rampant college sexual violence epidemic by carrying her dorm mattress everywhere — and will continue to do so until her alleged rapist is expelled – and spawned a movement of collective support. Images of Sulkowicz carrying her unwieldy mattress on her own are provocative, images wherein her peers voluntarily help her are only more so.\u003c/p>\n\u003ch3>#FreePalestine #UmbrellaRevolution #YaMeCanse #Ayotzinapa\u003c/h3>\n\u003cp>In Pittsburgh, Conflict Kitchen, the socially engaged artwork/take-out restaurant run by artist Jon Rubin and Dawn Weleski and featuring cuisine from locales around the world in conflict with the U.S., \u003ca href=\"http://hyperallergic.com/161454/conflict-kitchens-palestinian-programming-under-siege/\" target=\"_blank\" rel=\"noopener\">received credible death threats for serving Palestinian food and landed in a media frenzy\u003c/a> when a funder publicly expressed discomfort with the project’s aims. Here in the Bay Area, the \u003ca href=\"http://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\" target=\"_blank\" rel=\"noopener\">Oakland Palestine Solidarity Mural\u003c/a> commanded a city block and featured contributions by a host of artists, including the legendary artist and former Black Panther Minister of Culture Emory Douglas.\u003c/p>\n\u003cp>Further afield, artists initiated global actions to address unrest – In April, \u003ca href=\"http://gizmodo.com/giant-portrait-shows-drone-operators-that-people-arent-1559460573\" target=\"_blank\" rel=\"noopener\">artists created giant “aerial portraits” to remind drone operators that they were bombing people on the ground in Pakistan\u003c/a>, and not “bug splats.” \u003c/p>\n\u003cp>In Damascus, \u003ca href=\"http://motherbeing-news.com/?p=17748\" target=\"_blank\" rel=\"noopener\">artists gathered shards of pottery from the refuse of the Syrian War to create the world’s largest mosaic\u003c/a>. \u003c/p>\n\u003cp>In Hong Kong, myriad artists participated in the \u003ca href=\"http://www.cnn.com/2014/09/30/world/asia/objects-hong-kong-protest/index.html\" target=\"_blank\" rel=\"noopener\">Umbrella Revolution, launching countless icons of resistance\u003c/a> in the digital ether. \u003c/p>\n\u003cp>In New York, the 2014 Climate March was the largest the world had ever seen and \u003ca href=\"http://floodwallstreet.net/\" target=\"_blank\" rel=\"noopener\">#floodwallstreet\u003c/a> initiated a day of artistic action, summoning people to wear blue and to take to the streets in a river of human forms. \u003c/p>\n\u003cp>The murder of 43 teaching students in the rural community of Ayotzinapa, Mexico exposed astonishing government corruption and instigated widespread resistance around the world, including \u003ca href=\"http://ilustradoresconayotzinapa.tumblr.com/\" target=\"_blank\" rel=\"noopener\">a Tumblr of images created by artists to stand as a public record\u003c/a>. \u003c/p>\n\u003cp>In Norway \u003ca href=\"http://www.theguardian.com/artanddesign/2014/mar/06/norway-massacre-memorial-jonas-dahlberg-anders-behring-breivik\" target=\"_blank\" rel=\"noopener\">artist Jonas Dahlberg was selected to create a massive land art memorial\u003c/a> to the victims of the 2011 Utøya gun massacre that killed 69 people, mostly youth.\u003c/p>\n\u003cp>Artists also advanced the cause of artists. In Chile, artist Papas Fritas \u003ca href=\"http://www.washingtonpost.com/news/morning-mix/wp/2014/05/19/chilean-artist-steals-and-destroys-500-million-worth-of-student-debt-papers\">allegedly stole and destroyed\u003c/a> $500 million worth of student debt paperwork. Socially engaged \u003ca href=\"http://www.macfound.org/fellows/920/\">artist Rick Lowe won a MacArthur Genius Prize\u003c/a> for his work on \u003cem>Project Row Houses\u003c/em>, a community-based initiative that re-imagines social engagement, housing solutions and artistic action. San Francisco-based artist and 2014 \u003ca href=\"http://speculativepropositions.tumblr.com/post/82861912177/grant-application-guggenheim-fellowship-2014\" target=\"_blank\" rel=\"noopener\">John Simon Guggenheim Fellow Stephanie Syjuco self-published her complete award application online\u003c/a> for the edification and advancement of other artists. New York-based artist \u003ca href=\"http://visitsteve.com/news/no-thanks-artprize/\" target=\"_blank\" rel=\"noopener\">Steve Lambert, co-director of the Center for Artistic Activism, publicly declined his candidacy for the lucrative Art Prize\u003c/a> on the grounds of moral integrity and, in the process, raised important questions about funding in the arts. \u003c/p>\n\u003cp>All across the country, \u003ca href=\"http://ww2.kqed.org/arts/2014/04/28/yay-or-nay-the-push-to-unionize-visiting-faculty-at-bay-area-art-schools/\">adjunct professors voted to create unions, most notably at several Bay Area art schools\u003c/a>, including Mills College, San Francisco Art Institute and California College of the Arts, redefining considerations of artist-driven labor through collective bargaining. \u003ca href=\"http://ww2.kqed.org/arts/2014/10/22/w-a-g-e-against-the-machine-art-and-the-business-of-gettin-paid/\" target=\"_blank\" rel=\"noopener\">W. A. G. E., a New York-based artist advocacy group, released a fee calculator\u003c/a> to encourage artists to collect fees for their work. And, for anyone who still needs encouraging, popular musician and composer \u003ca href=\"http://colorlines.com/archives/2014/12/questlove_urges_artists_to_write_more_protest_songs.html\" target=\"_blank\" rel=\"noopener\">Questlove urged artists to write more protest songs. \u003c/a>As if on cue, singer-songwriter D’Angelo released his first album in fourteen years titled \u003cem>Black Messiah\u003c/em>, and many have already predicted it contains new anthems for these times.\u003c/p>\n\u003cp>As much as 2014 was a year of brutal violence, heartbreak and failures of justice, it was also an incredible year of art and uprising and change. People have become savvy about leveraging the tools at their disposal and connecting online, which means that we don’t have to wait for someone to write and publish the next literary masterpiece to see movement happening around us – it is happening now, in real time, everyday, on the screen. \u003c/p>\n\u003cp>It can be said that today’s radical culture bears little resemblance to the radical culture of bygone eras — this does not mean that art is shrinking from the challenges of our time, on the contrary, art is rushing at these challenges from every angle and from everywhere, en masse, every day, with the promise of more in the days ahead.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently \u003cem>New York Times\u003c/em> film critic A. O. Scott \u003ca href=\"http://www.nytimes.com/2014/11/30/arts/is-our-art-equal-to-the-challenges-of-our-times.html?_r=0\" target=\"_blank\" rel=\"noopener\">asked\u003c/a>, “Is our art equal to the challenge of our times?” Querying the role of culture en masse (films, music, books, theatre and, yes, visual art), Scott expressed a vague disappointment with today’s artists in addressing the issues of our era, from wealth disparity to racial inequality to climate change to violence, and so on. To this question, I would say if you don’t know, you haven’t been paying attention — or perhaps more gently put, look beyond what you think you already know. \u003c/p>\n\u003cp>Expecting today’s radical culture to look like the radical culture of yesteryear is a mistake. Scott cites select standards of bygone eras as iconic masterworks in times of upheaval, including \u003cem>A Raisin in the Sun\u003c/em> and Woody Guthrie songs, without seeming to dwell much on the contemporary shifts that have enabled far greater opportunities for self-expression and resistance, chiefly social media and a networked global community. In the future, 2014 will be considered a watershed historical moment with radical shifts in art, culture, collective communities and action — this article is a mere sample of highlights from the year in which art, collective action and social media changed everything.\u003c/p>\n\u003cp>But first, take note: As is well known, in July the world witnessed the homicide of Staten Island resident Eric Garner at the hands of police — Garner’s death was filmed with a cell phone camera by his friend Ramsey Orta in a video that went viral online. It is one of the most astonishing examples of citizen journalism the world has seen, for the way in which it presents a clear miscarriage of justice and for the way in which it has been freely and publicly distributed, bypassing conventional journalism and documentary filmmaking. \u003c/p>\n\u003cp>Soon after, Orta was indicted on unrelated weapons charges, in an act of possible retribution for exposing the police — a online \u003ca href=\"https://www.change.org/p/nypd-drop-the-weapons-charge-against-ramsey-orta-the-filmmaker-of-eric-garner-s-death\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calls upon the NYPD to drop these charges, not only as a matter of protecting Orta as a whistleblower, but to also defend the rights of citizens to film or photograph the police. \u003c/p>\n\u003cp>It is impossible to imagine this historical moment without the evidence of Orta’s video. I am not arguing that Orta’s video is an artwork, but it has been a catalyst for many of the actions, artworks and generative dialogs about racism, police brutality/militarization, civil rights and protest that have come after it. The precariousness of his situation now, and his virtual disappearance from the media, represents a grave threat not only to his own personal freedom, but to our own. Speaking up on Orta’s behalf now is a matter of protecting everyone’s freedom to stand up to injustice in the future.\u003c/p>\n\u003ch3>#BlackLivesMatter #BrownLivesMatter #Ferguson #Eric Garner #ICantBreathe #AllLivesMatter #NoJusticeNoPeace\u003c/h3>\n\u003cp>This was the year \u003ca href=\"http://www.huffingtonpost.com/2014/08/30/un-police-brutality-stand-your-ground_n_5740734.html\" target=\"_blank\" rel=\"noopener\">the United Nations condemned U.S. police brutality\u003c/a> on the global stage. It was also the year \u003ca href=\"http://www.theguardian.com/culture/2014/mar/08/steve-mcqueen-artist-big-screen-oscar-12-years-a-slave\" target=\"_blank\" rel=\"noopener\">artist Steve McQueen won an Oscar at the Academy Awards\u003c/a> for Best Picture with \u003cem>12 Years a Slave\u003c/em>, the first black filmmaker and the first visual artist in history to win the award. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/T_7ErkQFduQ'\n title='//www.youtube.com/embed/T_7ErkQFduQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Missouri, protestors took to the streets to demonstrate against the killing of Michael Brown, an unarmed 18-year-old African American, and some took to the St. Louis Symphony to disrupt business as usual, captured in videos that went viral on YouTube. Mary Engelbreit, the sweetly saccharine illustrator of cherry pies and cats, among other innocuous images, created \u003ca href=\"https://www.maryengelbreit.com/store/In-The-USA-Fine-Print.html\">a protest print to benefit the Brown family\u003c/a> – at last count, she had raised more than $100,000. \u003c/p>\n\u003cp>This fall, St. Louis-based street artist Damon Davis wheat-pasted iconic images of hands throughout Ferguson, in a gesture that has been \u003ca href=\"http://mic.com/articles/104908/ferguson-now-has-the-most-powerful-street-art-in-america\" target=\"_blank\" rel=\"noopener\">called\u003c/a> by some “the most powerful street art in America.” \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/rwsg3pnyxd4'\n title='//www.youtube.com/embed/rwsg3pnyxd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Immediately following the non-indictment in the Garner case, Congressman Hank Johnson performed an original protest poem on the floor of the U.S. House of Representatives, in an unconventional example of government moving more quickly than artists. (Congress has artists, who knew?)\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/_K_l7802qZ8'\n title='//www.youtube.com/embed/_K_l7802qZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the most iconic moments of resistance in 2014 include mass die-in protests all over the world — from Grand Central Station to shopping malls to city streets to schools to hospitals, people laid down in protest to declare that black lives matter, brown lives matter and all lives matter. Twitter released a\u003ca href=\"http://srogers.cartodb.com/viz/3ecef0b4-7cae-11e4-8bbb-0e9d821ea90d/embed_map\" target=\"_blank\" rel=\"noopener\"> data rendering of iconic hashtags tweeted around the world in a single day\u003c/a> and the image was captivating, yielding the powerful objections of a dispersed global community. Organizers in New York initiated Millions March, “A Day of Anger,” and millions took to the street everywhere – \u003ca href=\"http://instagram.com/p/wj8bGkxAWe/\">French Street artist JR’s protest images of Eric Garner’s eyes\u003c/a> became an icon of the movement.\u003c/p>\n\u003cp>In the Bay Area we saw many gestures of solidarity with local victims of police brutality. \u003ca href=\"http://justice4alexnieto.org/\">Justice 4 Alex Nieto\u003c/a>, a community action group organized around the unresolved homicide of Mission resident Alex Nieto at the hands of SFPD in March of this year, organized numerous actions and disruptions, including \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15370949524/\">protest banners at AT&T Park featuring the work of local artist Oree Originol\u003c/a> during the playoffs and World Series. (Remember those \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15373522863/\" target=\"_blank\" rel=\"noopener\">iconic sails\u003c/a> in McCovey Cove?) \u003c/p>\n\u003cp>The Anti-Eviction Mapping Project (AMP), an action group spearheaded by artist and organizer Erin McEloy, among other organizers, released a new \u003ca href=\"http://antievictionmap.squarespace.com/#/new-gallery-1/\" target=\"_blank\" rel=\"noopener\">map detailing police-related deaths in Oakland\u003c/a> from the 1970s to today, revealing that 99% of the victims have been people of color. AMP, of course, has also been instrumental in revealing lopsided data associated with gentrification, evictions and displacement as a result of new tech wealth in the city – to the extent that their work is regularly cited in \u003ca href=\"http://justice4alexnieto.org/2014/12/10/news-supervisor-avalos-introduces-resolution-to-address-racial-profiling-and-use-of-force-by-sfpd-upholds-right-to-nonviolent-protest-alex-nieto-case-cited/\" target=\"_blank\" rel=\"noopener\">the development of new city policies\u003c/a> regarding both police brutality and gentrification.\u003c/p>\n\u003cp>This summer, longtime San Francisco resident and pioneering Chicana artist Yolanda López forced the issues of elder displacement and gentrification with \u003ca href=\"http://ww2.kqed.org/arts/2014/07/01/notes-from-yolanda-m-lopezs-accessories-to-an-eviction/\">her performance project \u003cem>Accessories to an Eviction\u003c/em>\u003c/a> and held public rummage sales in various art venues to narrow her lifetime possessions and raise money in the face of her forthcoming eviction from her home of several decades.\u003c/p>\n\u003cp>Meanwhile, on the heels of numerous nonprofit and commercial galleries being forced to relocate or shutter and in the wake of \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts, the city’s oldest nonprofit, suspending programs\u003c/a>, the Bay Area art community rallied around the revival of The Lab and raised more than $54,000 via \u003ca href=\"https://www.kickstarter.com/projects/buildthelab/build-the-lab\" target=\"_blank\" rel=\"noopener\">Kickstarter\u003c/a> with 601 micro-funders. (In March, Kickstarter announced a milestone billion dollars in crowd-funding initiatives, with more than 5.7M funders worldwide.)\u003c/p>\n\u003cp>Digital rights and privacy were never far from public discourse – this fall Edward Snowden \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/01/29/268421741/edward-snowden-is-nominated-for-the-nobel-peace-prize\" target=\"_blank\" rel=\"noopener\">was nominated for\u003c/a> the Nobel Peace Prize for outing government surveillance, a story that was featured in the Laura Poitras-directed documentary \u003ca href=\"https://citizenfourfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Citizenfour\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Artist Trevor Paglen, who also contributed cinematography to the film, was recognized by the \u003ca href=\"http://ww2.kqed.org/arts/2014/10/07/the-electronic-frontier-foundation-honors-counter-surveillance-artist-trevor-paglen/\">Electronic Frontier Foundation with the Pioneer Award\u003c/a>, the first in the prize’s history to go to a visual artist, for his open source photographs of secret government agencies, the NSA among them.\u003c/p>\n\u003ch3>#YesAllWomen #IBelieveHer #BringBackOurGirls\u003cbr>\n\u003c/h3>\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/zyNa9kqq8mk'\n title='//www.youtube.com/embed/zyNa9kqq8mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Women’s rights came to the fore in the national dialog about violence against women. In her Ray Rice-inspired make-up tutorial on YouTube, after the athlete was exposed for spousal abuse, young filmmaker Megan MacKay asked, while applying orange-tinted makeup, “Orange you sad that the American news source most dedicated to truthful journalism turned out to be TMZ?” \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/mpepzxQJ-AA'\n title='//www.youtube.com/embed/mpepzxQJ-AA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile in New York, Colombia University art student Emma Sulkowicz has exposed the rampant college sexual violence epidemic by carrying her dorm mattress everywhere — and will continue to do so until her alleged rapist is expelled – and spawned a movement of collective support. Images of Sulkowicz carrying her unwieldy mattress on her own are provocative, images wherein her peers voluntarily help her are only more so.\u003c/p>\n\u003ch3>#FreePalestine #UmbrellaRevolution #YaMeCanse #Ayotzinapa\u003c/h3>\n\u003cp>In Pittsburgh, Conflict Kitchen, the socially engaged artwork/take-out restaurant run by artist Jon Rubin and Dawn Weleski and featuring cuisine from locales around the world in conflict with the U.S., \u003ca href=\"http://hyperallergic.com/161454/conflict-kitchens-palestinian-programming-under-siege/\" target=\"_blank\" rel=\"noopener\">received credible death threats for serving Palestinian food and landed in a media frenzy\u003c/a> when a funder publicly expressed discomfort with the project’s aims. Here in the Bay Area, the \u003ca href=\"http://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\" target=\"_blank\" rel=\"noopener\">Oakland Palestine Solidarity Mural\u003c/a> commanded a city block and featured contributions by a host of artists, including the legendary artist and former Black Panther Minister of Culture Emory Douglas.\u003c/p>\n\u003cp>Further afield, artists initiated global actions to address unrest – In April, \u003ca href=\"http://gizmodo.com/giant-portrait-shows-drone-operators-that-people-arent-1559460573\" target=\"_blank\" rel=\"noopener\">artists created giant “aerial portraits” to remind drone operators that they were bombing people on the ground in Pakistan\u003c/a>, and not “bug splats.” \u003c/p>\n\u003cp>In Damascus, \u003ca href=\"http://motherbeing-news.com/?p=17748\" target=\"_blank\" rel=\"noopener\">artists gathered shards of pottery from the refuse of the Syrian War to create the world’s largest mosaic\u003c/a>. \u003c/p>\n\u003cp>In Hong Kong, myriad artists participated in the \u003ca href=\"http://www.cnn.com/2014/09/30/world/asia/objects-hong-kong-protest/index.html\" target=\"_blank\" rel=\"noopener\">Umbrella Revolution, launching countless icons of resistance\u003c/a> in the digital ether. \u003c/p>\n\u003cp>In New York, the 2014 Climate March was the largest the world had ever seen and \u003ca href=\"http://floodwallstreet.net/\" target=\"_blank\" rel=\"noopener\">#floodwallstreet\u003c/a> initiated a day of artistic action, summoning people to wear blue and to take to the streets in a river of human forms. \u003c/p>\n\u003cp>The murder of 43 teaching students in the rural community of Ayotzinapa, Mexico exposed astonishing government corruption and instigated widespread resistance around the world, including \u003ca href=\"http://ilustradoresconayotzinapa.tumblr.com/\" target=\"_blank\" rel=\"noopener\">a Tumblr of images created by artists to stand as a public record\u003c/a>. \u003c/p>\n\u003cp>In Norway \u003ca href=\"http://www.theguardian.com/artanddesign/2014/mar/06/norway-massacre-memorial-jonas-dahlberg-anders-behring-breivik\" target=\"_blank\" rel=\"noopener\">artist Jonas Dahlberg was selected to create a massive land art memorial\u003c/a> to the victims of the 2011 Utøya gun massacre that killed 69 people, mostly youth.\u003c/p>\n\u003cp>Artists also advanced the cause of artists. In Chile, artist Papas Fritas \u003ca href=\"http://www.washingtonpost.com/news/morning-mix/wp/2014/05/19/chilean-artist-steals-and-destroys-500-million-worth-of-student-debt-papers\">allegedly stole and destroyed\u003c/a> $500 million worth of student debt paperwork. Socially engaged \u003ca href=\"http://www.macfound.org/fellows/920/\">artist Rick Lowe won a MacArthur Genius Prize\u003c/a> for his work on \u003cem>Project Row Houses\u003c/em>, a community-based initiative that re-imagines social engagement, housing solutions and artistic action. San Francisco-based artist and 2014 \u003ca href=\"http://speculativepropositions.tumblr.com/post/82861912177/grant-application-guggenheim-fellowship-2014\" target=\"_blank\" rel=\"noopener\">John Simon Guggenheim Fellow Stephanie Syjuco self-published her complete award application online\u003c/a> for the edification and advancement of other artists. New York-based artist \u003ca href=\"http://visitsteve.com/news/no-thanks-artprize/\" target=\"_blank\" rel=\"noopener\">Steve Lambert, co-director of the Center for Artistic Activism, publicly declined his candidacy for the lucrative Art Prize\u003c/a> on the grounds of moral integrity and, in the process, raised important questions about funding in the arts. \u003c/p>\n\u003cp>All across the country, \u003ca href=\"http://ww2.kqed.org/arts/2014/04/28/yay-or-nay-the-push-to-unionize-visiting-faculty-at-bay-area-art-schools/\">adjunct professors voted to create unions, most notably at several Bay Area art schools\u003c/a>, including Mills College, San Francisco Art Institute and California College of the Arts, redefining considerations of artist-driven labor through collective bargaining. \u003ca href=\"http://ww2.kqed.org/arts/2014/10/22/w-a-g-e-against-the-machine-art-and-the-business-of-gettin-paid/\" target=\"_blank\" rel=\"noopener\">W. A. G. E., a New York-based artist advocacy group, released a fee calculator\u003c/a> to encourage artists to collect fees for their work. And, for anyone who still needs encouraging, popular musician and composer \u003ca href=\"http://colorlines.com/archives/2014/12/questlove_urges_artists_to_write_more_protest_songs.html\" target=\"_blank\" rel=\"noopener\">Questlove urged artists to write more protest songs. \u003c/a>As if on cue, singer-songwriter D’Angelo released his first album in fourteen years titled \u003cem>Black Messiah\u003c/em>, and many have already predicted it contains new anthems for these times.\u003c/p>\n\u003cp>As much as 2014 was a year of brutal violence, heartbreak and failures of justice, it was also an incredible year of art and uprising and change. People have become savvy about leveraging the tools at their disposal and connecting online, which means that we don’t have to wait for someone to write and publish the next literary masterpiece to see movement happening around us – it is happening now, in real time, everyday, on the screen. \u003c/p>\n\u003cp>It can be said that today’s radical culture bears little resemblance to the radical culture of bygone eras — this does not mean that art is shrinking from the challenges of our time, on the contrary, art is rushing at these challenges from every angle and from everywhere, en masse, every day, with the promise of more in the days ahead.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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