Orderly But Exuberant Textiles Mine Minimalism at the de Young
Artist Gabby Miller Journeyed From Oakland to China by Cargo Ship
Luxurious Hawaiian Featherwork Makes its Mainland Debut
Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_12032276": {
"type": "attachments",
"id": "arts_12032276",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12032276",
"found": true
},
"parent": 11998042,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/OnTheGrid_11COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473183964,
"modified": 1473184756,
"caption": "Installation view of 'On the Grid: Textiles and Minimalism' at the de Young.",
"description": "Installation view of 'On the Grid: Textiles and Minimalism' at the de Young.",
"title": "Installation view of 'On the Grid: Textiles and Minimalism' at the de Young.",
"credit": "Courtesy of FAMSF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11445094": {
"type": "attachments",
"id": "arts_11445094",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11445094",
"found": true
},
"parent": 11444977,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/MillerCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459204980,
"modified": 1459205235,
"caption": "A view from Gabby Miller's home for 21 days, the CMA CGM Gemini, a 380-meter-long ship capable of carrying 11,000 containers.",
"description": null,
"title": "MillerCover",
"credit": "Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11102959": {
"type": "attachments",
"id": "arts_11102959",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11102959",
"found": true
},
"parent": 11094079,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover.jpg",
"width": 1654,
"height": 931
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CapeCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1448267818,
"modified": 1448267862,
"caption": "'Ahu 'ula (cape), pre-1861.",
"description": null,
"title": "CapeCover",
"credit": "Courtesy: Bernice Pauahi Bishop Museum, Ethnology Collection",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10887844": {
"type": "attachments",
"id": "arts_10887844",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10887844",
"found": true
},
"parent": 10867552,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover.jpg",
"width": 1620,
"height": 912
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Will-BrownCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1439183477,
"modified": 1439183497,
"caption": "'Will Brown / MATRIX 259,' 2015. (Photo: Will Brown)",
"description": null,
"title": "Will-BrownCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"ehunt": {
"type": "authors",
"id": "8633",
"meta": {
"index": "authors_1716337520",
"id": "8633",
"found": true
},
"name": "Emily Hunt",
"firstName": "Emily",
"lastName": "Hunt",
"slug": "ehunt",
"email": "emilyrhunt@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emily Hunt | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehunt"
}
},
"pagesReducer": {
"author_ehunt": {
"type": "pages",
"id": "8633",
"meta": {
"index": "authors_1716337520",
"id": "8633",
"score": 6.924284,
"site": "authors"
},
"name": "Emily Hunt",
"firstName": "Emily",
"lastName": "Hunt",
"slug": "ehunt",
"email": "emilyrhunt@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {},
"isLoading": false,
"hasAllInfo": true,
"blocks": [
{
"blockName": "kqed/staff-member",
"attrs": {
"author": {
"type": "authors",
"id": "8633",
"meta": {
"index": "authors_1716337520",
"id": "8633",
"score": 6.924284
},
"name": "Emily Hunt",
"firstName": "Emily",
"lastName": "Hunt",
"slug": "ehunt",
"email": "emilyrhunt@gmail.com",
"display_author_email": false,
"staff_mastheads": "[Circular]",
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": "[Circular]",
"headData": {
"title": "Emily Hunt | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/df316c3ec2f51f647ba372fe73dbe74d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehunt",
"hasAllInfo": true
}
}
},
{
"blockName": "kqed/post-list",
"attrs": {
"query": "posts?author=8633&authorName=Emily Hunt",
"title": "By Emily Hunt",
"layout": "cardArticle2",
"className": "wp-block--nomargintop",
"seeMore": true
}
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_11998042": {
"type": "posts",
"id": "arts_11998042",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11998042",
"score": null,
"sort": [
1473188413000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1473188413,
"format": "standard",
"title": "Orderly But Exuberant Textiles Mine Minimalism at the de Young",
"headTitle": "Orderly But Exuberant Textiles Mine Minimalism at the de Young | KQED",
"content": "\u003cp>“When a textile is following its core principles, it is minimalist,” says Jill D’Alessandro, curator of \u003ca href=\"https://deyoung.famsf.org/exhibitions/grid-textiles-and-minimalism\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Grid: Textiles and Minimalism\u003c/em>\u003c/a>, on view at San Francisco’s de Young through Feb. 12, 2017.\u003c/p>\n\u003cp>The exhibition presents over two dozen textiles from the museum’s permanent collection. Dating from the late 18th century to the present, and made of materials ranging from paper mulberry bark to sheep’s wool to silk, these quilts, tunics, ceremonial shawls, altar cloths and contemporary pieces are unified by minimalist aesthetics. Free of ornamentation, the composition of each was preconceived by the artist and dictated by regular, symmetrical or gridded arrangements.\u003c/p>\n\u003cfigure id=\"attachment_12032273\" class=\"wp-caption alignright\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg\" alt='Quilt, \"Checkerboard\" pattern, ca. 1900.' width=\"571\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-535x600.jpg 535w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Quilt, “Checkerboard” pattern, ca. 1900. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inventive installation of the exhibition enhances a viewer’s experience; grouped by a progression of color — from reds and oranges to chocolatey browns to cooler blues and whites — many of the textiles hang from displays that expose both their front and back sides. Thanks to this presentation, we can look through them as much as at them; we can imagine them swaying, sense their weight and how they might bunch when wrapped. We can decipher which are translucent, and which are dense enough to inhibit the passage of light.\u003c/p>\n\u003cp>D’Alessandro calls \u003ca href=\"https://sites.google.com/site/rebeccamedel2010/\" target=\"_blank\" rel=\"noopener\">Rebecca R. Medel\u003c/a>’s \u003cem>Wall of Windows\u003c/em>, a ghostly, 106-inch-tall cotton and linen piece dominating one end of the gallery, “a phenomenal feat,” given its “extremely mathematically challenging” approach to combining knotted netting with double-ikat dyeing. “My work is about the spiritual, about infinity,” Medel says. One indeed feels this cosmic push, staring into the intricate layers of the commanding piece.\u003c/p>\n\u003cfigure id=\"attachment_12032274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg\" alt=\"Installation view of 'On the Grid: Textiles and Minimalism.'\" width=\"1200\" height=\"781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-960x625.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘On the Grid: Textiles and Minimalism.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some textiles on view, like an energetic Senegalese cotton skirt panel (\u003cem>pagne\u003c/em>), featuring loosely aligned wax printed squares, embrace more freedom than we tend to associate with minimalism, loosening the borders of the oft-debated and sometimes casually used term.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A cotton coverlet, made in the United States in 1960, at the height of op art’s popularity, achieves a transfixing effect through an incremental reduction of the size of the squares on each plane. The pattern appears to undulate.\u003c/p>\n\u003cp>Made in the Southern Altiplano in Bolivia by the Aymara people, a pre-19th-century ceremonial shawl (\u003cem>llacolla\u003c/em>), uses a warp-faced plain weave to blend two shades of blue yarns with brown, creating a rich composition that appears nearly black from a distance.\u003c/p>\n\u003cfigure id=\"attachment_12032272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg\" alt=\"Installation view of 'Kay Sekimachi: Student, Teacher, Artist.'\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kay Sekimachi: Student, Teacher, Artist.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of these textiles seem to own and track a stretch of time, to present a kind of organized wilderness as it makes vivid and explicit the artist’s process. The harmony these pieces achieve intersects with a pure sensation of possibility.\u003c/p>\n\u003cp>A small and excellent companion exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/kay-sekimachi-student-teacher-artist\" target=\"_blank\" rel=\"noopener\">\u003cem>Kay Sekimachi: Student, Teacher, Artist\u003c/em>\u003c/a>, lends a fascinating look into postwar fiber art pioneer, lifelong teacher, and San Francisco native Kay Sekimachi’s radical and spirited practice. Highlights include \u003cem>Emotional Stripes\u003c/em> and \u003cem>Intellectual Stripes\u003c/em>, studies created in response to an assignment she received early in her six-decade-plus career, and \u003cem>Katsura\u003c/em>, an elegant and ominous jellyfish-inspired monofilament hanging she made in 1971.\u003c/p>\n\u003cfigure id=\"attachment_12032275\" class=\"wp-caption alignright\" style=\"max-width: 340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg\" alt=\"Kay Sekimachi, 'Katsura,' 1971.\" width=\"340\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg 340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640-319x600.jpg 319w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003cfigcaption class=\"wp-caption-text\">Kay Sekimachi, ‘Katsura,’ 1971. \u003ccite>(Photo by M. Lee Fatherree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.gyongylaky.com/assets/pages/art.htm\" target=\"_blank\" rel=\"noopener\">Gyöngy Laky\u003c/a> (whose piece \u003cem>Laura’s Quilt\u003c/em>, made of applewood and vinyl-coated nails, is hung on the title wall of \u003cem>On the Grid\u003c/em>) describes Sekimachi as “like a scientist.” Sekimachi’s unyielding curiosity and experimental application of the double-weave technique is indeed palpable. It is a unique joy to see the artist’s early studies alongside her later and most recent work (linen necklaces, book-like sculptures and woven boxes). Of \u003cem>Katsura\u003c/em>, Sekimachi says, “I felt like an explorer because no one else was using that material, so no one could tell me what to do, and the possibilities seemed endless.”\u003c/p>\n\u003cp>In Danish poet Inger Christensen’s \u003ca href=\"http://www.ndbooks.com/book/alphabet/\">\u003cem>alphabet\u003c/em>\u003c/a> (translated by Susanna Nied and published by New Directions), the Fibonacci sequence acts as structural guide for the book-length poem. Like a weaving, \u003cem>alphabet\u003c/em> begins with a small action of composition — two phrases repeated (“apricot trees exist, apricot trees exist”) — and via loyalty to its mathematical constraint, awakens and allows an entire lush and stirring world to breathe honestly within its frame. Seven pages in, as momentum builds and her field expands, Christensen writes, “given limits exist, streets, oblivion … eagerness exists, given limits.”\u003c/p>\n\u003cp>Both \u003ci>On the Grid\u003c/i> and \u003ci>Kay Sekimachi\u003c/i> inspire audiences to consider how applied constraints — a simultaneous trust in and pressure on the material at hand, and a dedication to set organizing principles or techniques — can lead to sensuous and evocative work in all mediums.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>On the Grid: Textiles and Minimalism\u003c/b> is on view at the de Young through Feb. 12, 2017. \u003cb>Kay Sekimachi: Student, Teacher, Artist\u003c/b> is on view through Nov. 6, 2016. For tickets and more information, visit \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 873,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705033126,
"excerpt": "Two textile exhibitions show how attention to material constraints can yield sensuous and evocative results. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two textile exhibitions show how attention to material constraints can yield sensuous and evocative results. ",
"title": "Orderly But Exuberant Textiles Mine Minimalism at the de Young | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Orderly But Exuberant Textiles Mine Minimalism at the de Young",
"datePublished": "2016-09-06T12:00:13-07:00",
"dateModified": "2024-01-11T20:18:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "orderly-but-exuberant-textiles-mine-minimalism-at-the-de-young",
"status": "publish",
"sticky": false,
"path": "/arts/11998042/orderly-but-exuberant-textiles-mine-minimalism-at-the-de-young",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“When a textile is following its core principles, it is minimalist,” says Jill D’Alessandro, curator of \u003ca href=\"https://deyoung.famsf.org/exhibitions/grid-textiles-and-minimalism\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Grid: Textiles and Minimalism\u003c/em>\u003c/a>, on view at San Francisco’s de Young through Feb. 12, 2017.\u003c/p>\n\u003cp>The exhibition presents over two dozen textiles from the museum’s permanent collection. Dating from the late 18th century to the present, and made of materials ranging from paper mulberry bark to sheep’s wool to silk, these quilts, tunics, ceremonial shawls, altar cloths and contemporary pieces are unified by minimalist aesthetics. Free of ornamentation, the composition of each was preconceived by the artist and dictated by regular, symmetrical or gridded arrangements.\u003c/p>\n\u003cfigure id=\"attachment_12032273\" class=\"wp-caption alignright\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg\" alt='Quilt, \"Checkerboard\" pattern, ca. 1900.' width=\"571\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Amish_Quilt_A307513_print_640-535x600.jpg 535w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Quilt, “Checkerboard” pattern, ca. 1900. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inventive installation of the exhibition enhances a viewer’s experience; grouped by a progression of color — from reds and oranges to chocolatey browns to cooler blues and whites — many of the textiles hang from displays that expose both their front and back sides. Thanks to this presentation, we can look through them as much as at them; we can imagine them swaying, sense their weight and how they might bunch when wrapped. We can decipher which are translucent, and which are dense enough to inhibit the passage of light.\u003c/p>\n\u003cp>D’Alessandro calls \u003ca href=\"https://sites.google.com/site/rebeccamedel2010/\" target=\"_blank\" rel=\"noopener\">Rebecca R. Medel\u003c/a>’s \u003cem>Wall of Windows\u003c/em>, a ghostly, 106-inch-tall cotton and linen piece dominating one end of the gallery, “a phenomenal feat,” given its “extremely mathematically challenging” approach to combining knotted netting with double-ikat dyeing. “My work is about the spiritual, about infinity,” Medel says. One indeed feels this cosmic push, staring into the intricate layers of the commanding piece.\u003c/p>\n\u003cfigure id=\"attachment_12032274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg\" alt=\"Installation view of 'On the Grid: Textiles and Minimalism.'\" width=\"1200\" height=\"781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OnTheGrid_05_1200-960x625.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘On the Grid: Textiles and Minimalism.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some textiles on view, like an energetic Senegalese cotton skirt panel (\u003cem>pagne\u003c/em>), featuring loosely aligned wax printed squares, embrace more freedom than we tend to associate with minimalism, loosening the borders of the oft-debated and sometimes casually used term.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A cotton coverlet, made in the United States in 1960, at the height of op art’s popularity, achieves a transfixing effect through an incremental reduction of the size of the squares on each plane. The pattern appears to undulate.\u003c/p>\n\u003cp>Made in the Southern Altiplano in Bolivia by the Aymara people, a pre-19th-century ceremonial shawl (\u003cem>llacolla\u003c/em>), uses a warp-faced plain weave to blend two shades of blue yarns with brown, creating a rich composition that appears nearly black from a distance.\u003c/p>\n\u003cfigure id=\"attachment_12032272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg\" alt=\"Installation view of 'Kay Sekimachi: Student, Teacher, Artist.'\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/2016_DEY_Sekimachi_V06_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Kay Sekimachi: Student, Teacher, Artist.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of these textiles seem to own and track a stretch of time, to present a kind of organized wilderness as it makes vivid and explicit the artist’s process. The harmony these pieces achieve intersects with a pure sensation of possibility.\u003c/p>\n\u003cp>A small and excellent companion exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/kay-sekimachi-student-teacher-artist\" target=\"_blank\" rel=\"noopener\">\u003cem>Kay Sekimachi: Student, Teacher, Artist\u003c/em>\u003c/a>, lends a fascinating look into postwar fiber art pioneer, lifelong teacher, and San Francisco native Kay Sekimachi’s radical and spirited practice. Highlights include \u003cem>Emotional Stripes\u003c/em> and \u003cem>Intellectual Stripes\u003c/em>, studies created in response to an assignment she received early in her six-decade-plus career, and \u003cem>Katsura\u003c/em>, an elegant and ominous jellyfish-inspired monofilament hanging she made in 1971.\u003c/p>\n\u003cfigure id=\"attachment_12032275\" class=\"wp-caption alignright\" style=\"max-width: 340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12032275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg\" alt=\"Kay Sekimachi, 'Katsura,' 1971.\" width=\"340\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640.jpg 340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sekimaachi_Katsura_A402756_print640-319x600.jpg 319w\" sizes=\"(max-width: 340px) 100vw, 340px\">\u003cfigcaption class=\"wp-caption-text\">Kay Sekimachi, ‘Katsura,’ 1971. \u003ccite>(Photo by M. Lee Fatherree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist \u003ca href=\"http://www.gyongylaky.com/assets/pages/art.htm\" target=\"_blank\" rel=\"noopener\">Gyöngy Laky\u003c/a> (whose piece \u003cem>Laura’s Quilt\u003c/em>, made of applewood and vinyl-coated nails, is hung on the title wall of \u003cem>On the Grid\u003c/em>) describes Sekimachi as “like a scientist.” Sekimachi’s unyielding curiosity and experimental application of the double-weave technique is indeed palpable. It is a unique joy to see the artist’s early studies alongside her later and most recent work (linen necklaces, book-like sculptures and woven boxes). Of \u003cem>Katsura\u003c/em>, Sekimachi says, “I felt like an explorer because no one else was using that material, so no one could tell me what to do, and the possibilities seemed endless.”\u003c/p>\n\u003cp>In Danish poet Inger Christensen’s \u003ca href=\"http://www.ndbooks.com/book/alphabet/\">\u003cem>alphabet\u003c/em>\u003c/a> (translated by Susanna Nied and published by New Directions), the Fibonacci sequence acts as structural guide for the book-length poem. Like a weaving, \u003cem>alphabet\u003c/em> begins with a small action of composition — two phrases repeated (“apricot trees exist, apricot trees exist”) — and via loyalty to its mathematical constraint, awakens and allows an entire lush and stirring world to breathe honestly within its frame. Seven pages in, as momentum builds and her field expands, Christensen writes, “given limits exist, streets, oblivion … eagerness exists, given limits.”\u003c/p>\n\u003cp>Both \u003ci>On the Grid\u003c/i> and \u003ci>Kay Sekimachi\u003c/i> inspire audiences to consider how applied constraints — a simultaneous trust in and pressure on the material at hand, and a dedication to set organizing principles or techniques — can lead to sensuous and evocative work in all mediums.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>On the Grid: Textiles and Minimalism\u003c/b> is on view at the de Young through Feb. 12, 2017. \u003cb>Kay Sekimachi: Student, Teacher, Artist\u003c/b> is on view through Nov. 6, 2016. For tickets and more information, visit \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11998042/orderly-but-exuberant-textiles-mine-minimalism-at-the-de-young",
"authors": [
"8633"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12032276",
"label": "arts"
},
"arts_11444977": {
"type": "posts",
"id": "arts_11444977",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11444977",
"score": null,
"sort": [
1459263621000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1459263621,
"format": "standard",
"title": "Artist Gabby Miller Journeyed From Oakland to China by Cargo Ship",
"headTitle": "Artist Gabby Miller Journeyed From Oakland to China by Cargo Ship | KQED",
"content": "\u003cp>In August 2015, with funding from the Asian Cultural Council, Oakland-based artist Gabby Miller crossed the Pacific Ocean on the CMA CGM Gemini, a 380-meter-long container ship, to Xiamen, China.\u003c/p>\n\u003cfigure id=\"attachment_11445818\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Studio640.jpg\" alt=\"Working on portraits while on board the container ship.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Working on portraits while on board the container ship. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On board, she developed \u003ci>\u003ca href=\"http://www.randomparts.org/gabby-miller\" target=\"_blank\" rel=\"noopener\">Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/a>\u003c/i>, an ongoing project that explores the movement of goods, people and power across ocean lines. The body of work includes paintings she made with the ship’s engine oil, photographs she took at sea, fragments from family archives, and the piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers.\u003c/p>\n\u003cp>For the past month, Miller has been in residence at Random Parts, a gallery space in Oakland, continuing her research into the history of containerization, processing conversations she had with crew members, drawing connections between global trade and her family history, and making new work. KQED Arts sat down with Miller to discuss her 21-day-long journey across the Pacific.\u003c/p>\n\u003cp>\u003cstrong>Your participation in the 2011 Occupy Oakland protests was one of many departure points for this project. Can you discuss how this experience fed your impulse to spend 21 days on a cargo ship crossing the Pacific Ocean to Xiamen, China?\u003c/strong>\u003c/p>\n\u003cp>Being part of such a huge group of people felt beyond the imagination, almost dream-like. It got me interested in port blockades — all these human beings physically stopping enormous machines. In researching the history of containerization, I learned that shipments from Oakland’s port escalated the Vietnam War. There’s this historical link between my two homelands — Vietnam and Oakland — between personal and geopolitical history.\u003c/p>\n\u003cfigure id=\"attachment_11445099\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445099\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg\" alt=\"Forty portraits of sailors' families, painted while crossing the sea.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Forty portraits of sailors’ families, painted while crossing the sea. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s clear that your family history and sense of identity play key roles in your practice.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yeah, it’s big. A lot of my work has been trying to make sense of my parents’ union. My Vietnamese mother and white father met and married in Saigon at the height of the Vietnam War. Much of the life they’ve built together has been in resistance to Western imperialism.\u003c/p>\n\u003cp>Also, I have this mystery brown ethnicity, and I’m sort of mystery gendered, so in my practice, I’m doing the best I can to make sense of existing in multiple contexts.\u003c/p>\n\u003cp>\u003cstrong>Was it alienating or challenging to be on board with only men?\u003c/strong>\u003c/p>\n\u003cp>I had trepidation about being the only woman, and the only passenger on the boat with thirty sailors, but upon arrival, it was clear I was in a safe environment. The men were really thankful to have a break from the monotony of being at sea for 4-9 months. Being mixed race made it easier for me to navigate social relationships with the whole range of crew members.\u003c/p>\n\u003cfigure id=\"attachment_11445102\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445102\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Install1200.jpg\" alt=\"Gabby Miller, Installation view of 'Going East,' featuring heavy crude oil on canvas.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, Installation view of ‘Going East,’ featuring heavy crude oil on canvas. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did you start making paintings with the ship’s engine oil? \u003c/strong>\u003c/p>\n\u003cp>When we landed in Nakhodka, Russia to bunker. The chef realized I was an artist when I borrowed a jar to put the oil in, and he asked me to paint a portrait of him and his wife. I quickly got requests from every other crew member. I offered to paint whoever they wanted commemorated.\u003c/p>\n\u003cp>I opened up a studio in the swimming pool room and left the door open. People would stroll through after dinner, and it became a communing point. There were some pretty artistic souls on board. They started painting with me, and we had an art show. Gathered around the paintings, everyone could talk about the people they were missing, and it became a really poignant exchange, given that the boat was very racially divided.\u003c/p>\n\u003cfigure id=\"attachment_11445098\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445098\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg\" alt=\"The artist's "studio" on board the container ship, with works on display.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s “studio” on board the container ship, with works on display. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you arrive at the title \u003ci>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>I was thinking of “wake” not just as in the stream of water behind the boat, but also as in after somebody has died, and in terms of wakefulness, coming to awareness in the Buddhist sense.\u003c/p>\n\u003cp>Turquoise is the color of the sea, of transformation. We associate turquoise with the American Southwest. But, early mining in turquoise happened in Iran in these Persian empires; it was the color of expansion in many ways.\u003c/p>\n\u003cp>My great grandfather was an engineer of coal mines, so I wanted to make this connection to my family legacy. Also, it’s currently under debate whether coal will be shipped from Oakland’s port, primarily to China and Vietnam.\u003c/p>\n\u003cp>Chicken, shit, and air are the three things that crossed the Pacific in containers with me. The air containers were getting sent to be refilled with tons of things. “Shit” is stuff that’s too expensive or illegal to recycle or dispose of in the States, like electronic parts. We send frozen chicken and fish to get processed in China because the labor and the materials are cheaper, and then send it back for consumption and send it around the world, which is insane.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11445096\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg\" alt=\"TurquoiseWake1200\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003cstrong>Can you discuss your piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers?\u003c/strong>\u003c/p>\n\u003cp>I made this piece to tell the story of the connections between the escalation of the Vietnam War and the rise of containerization. 609 was ten times as many containers as the amount that could be transported on a regular ship previously, so this was revolutionary. The war, this logistically impossible thing, became very smooth.\u003c/p>\n\u003cp>I couldn’t have produced the work as easily in the US. I went to a traditional Vietnamese ceramic village to have them made. For them it was like, oh this is hardly anything, and for me I was like, this is a mass-scale project. So, there’s that underlying story of labor and mass production.\u003c/p>\n\u003cp>I’m still considering what it means to work at Random Parts, in this neighborhood. I can see containers coming in and out of the port. This neighborhood has been a southern Vietnamese diaspora for 40 years, and people here are facing violent gentrification. Again, there’s this connection between the local displacement and global displacement, which is so linked to world trade.\u003c/p>\n\u003cfigure id=\"attachment_11445097\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Containers1200.jpg\" alt=\"Gabby Miller, '609 Containers (1967),' 2015.\" width=\"1228\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-960x638.jpg 960w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, ‘609 Containers (1967),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Regardless of the city, country, or neighborhood you’re working in, whether you’re on land or at sea, you’re attuned to the violence and the repercussions of trade, and bringing that into your practice.\u003c/strong>\u003c/p>\n\u003cp>Yeah, these really powerful underlying narratives of Western imperialism, of ownership of people and goods. I’m investigating the ways we’re embedded in history and how that history loops.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cb>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/b> is on view at Random Parts in Oakland through April 2, with an \u003ca href=\"https://www.facebook.com/events/176984612687569/\" target=\"_blank\" rel=\"noopener\">open studio event\u003c/a> on April 2, 2-6pm. For more information visit \u003ca href=\"http://www.randomparts.org/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1208,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705044744,
"excerpt": "In residence at Oakland's Random Parts gallery, a multimedia artist reflects on her unconventional trans-Pacific voyage.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In residence at Oakland's Random Parts gallery, a multimedia artist reflects on her unconventional trans-Pacific voyage.",
"title": "Artist Gabby Miller Journeyed From Oakland to China by Cargo Ship | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Artist Gabby Miller Journeyed From Oakland to China by Cargo Ship",
"datePublished": "2016-03-29T08:00:21-07:00",
"dateModified": "2024-01-11T23:32:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "artist-gabby-miller-journeyed-from-oakland-to-china-by-cargo-ship",
"status": "publish",
"sticky": false,
"path": "/arts/11444977/artist-gabby-miller-journeyed-from-oakland-to-china-by-cargo-ship",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In August 2015, with funding from the Asian Cultural Council, Oakland-based artist Gabby Miller crossed the Pacific Ocean on the CMA CGM Gemini, a 380-meter-long container ship, to Xiamen, China.\u003c/p>\n\u003cfigure id=\"attachment_11445818\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Studio640.jpg\" alt=\"Working on portraits while on board the container ship.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Working on portraits while on board the container ship. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On board, she developed \u003ci>\u003ca href=\"http://www.randomparts.org/gabby-miller\" target=\"_blank\" rel=\"noopener\">Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/a>\u003c/i>, an ongoing project that explores the movement of goods, people and power across ocean lines. The body of work includes paintings she made with the ship’s engine oil, photographs she took at sea, fragments from family archives, and the piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers.\u003c/p>\n\u003cp>For the past month, Miller has been in residence at Random Parts, a gallery space in Oakland, continuing her research into the history of containerization, processing conversations she had with crew members, drawing connections between global trade and her family history, and making new work. KQED Arts sat down with Miller to discuss her 21-day-long journey across the Pacific.\u003c/p>\n\u003cp>\u003cstrong>Your participation in the 2011 Occupy Oakland protests was one of many departure points for this project. Can you discuss how this experience fed your impulse to spend 21 days on a cargo ship crossing the Pacific Ocean to Xiamen, China?\u003c/strong>\u003c/p>\n\u003cp>Being part of such a huge group of people felt beyond the imagination, almost dream-like. It got me interested in port blockades — all these human beings physically stopping enormous machines. In researching the history of containerization, I learned that shipments from Oakland’s port escalated the Vietnam War. There’s this historical link between my two homelands — Vietnam and Oakland — between personal and geopolitical history.\u003c/p>\n\u003cfigure id=\"attachment_11445099\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445099\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg\" alt=\"Forty portraits of sailors' families, painted while crossing the sea.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Forty portraits of sailors’ families, painted while crossing the sea. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s clear that your family history and sense of identity play key roles in your practice.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah, it’s big. A lot of my work has been trying to make sense of my parents’ union. My Vietnamese mother and white father met and married in Saigon at the height of the Vietnam War. Much of the life they’ve built together has been in resistance to Western imperialism.\u003c/p>\n\u003cp>Also, I have this mystery brown ethnicity, and I’m sort of mystery gendered, so in my practice, I’m doing the best I can to make sense of existing in multiple contexts.\u003c/p>\n\u003cp>\u003cstrong>Was it alienating or challenging to be on board with only men?\u003c/strong>\u003c/p>\n\u003cp>I had trepidation about being the only woman, and the only passenger on the boat with thirty sailors, but upon arrival, it was clear I was in a safe environment. The men were really thankful to have a break from the monotony of being at sea for 4-9 months. Being mixed race made it easier for me to navigate social relationships with the whole range of crew members.\u003c/p>\n\u003cfigure id=\"attachment_11445102\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445102\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Install1200.jpg\" alt=\"Gabby Miller, Installation view of 'Going East,' featuring heavy crude oil on canvas.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, Installation view of ‘Going East,’ featuring heavy crude oil on canvas. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did you start making paintings with the ship’s engine oil? \u003c/strong>\u003c/p>\n\u003cp>When we landed in Nakhodka, Russia to bunker. The chef realized I was an artist when I borrowed a jar to put the oil in, and he asked me to paint a portrait of him and his wife. I quickly got requests from every other crew member. I offered to paint whoever they wanted commemorated.\u003c/p>\n\u003cp>I opened up a studio in the swimming pool room and left the door open. People would stroll through after dinner, and it became a communing point. There were some pretty artistic souls on board. They started painting with me, and we had an art show. Gathered around the paintings, everyone could talk about the people they were missing, and it became a really poignant exchange, given that the boat was very racially divided.\u003c/p>\n\u003cfigure id=\"attachment_11445098\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445098\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg\" alt=\"The artist's "studio" on board the container ship, with works on display.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s “studio” on board the container ship, with works on display. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you arrive at the title \u003ci>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>I was thinking of “wake” not just as in the stream of water behind the boat, but also as in after somebody has died, and in terms of wakefulness, coming to awareness in the Buddhist sense.\u003c/p>\n\u003cp>Turquoise is the color of the sea, of transformation. We associate turquoise with the American Southwest. But, early mining in turquoise happened in Iran in these Persian empires; it was the color of expansion in many ways.\u003c/p>\n\u003cp>My great grandfather was an engineer of coal mines, so I wanted to make this connection to my family legacy. Also, it’s currently under debate whether coal will be shipped from Oakland’s port, primarily to China and Vietnam.\u003c/p>\n\u003cp>Chicken, shit, and air are the three things that crossed the Pacific in containers with me. The air containers were getting sent to be refilled with tons of things. “Shit” is stuff that’s too expensive or illegal to recycle or dispose of in the States, like electronic parts. We send frozen chicken and fish to get processed in China because the labor and the materials are cheaper, and then send it back for consumption and send it around the world, which is insane.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11445096\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg\" alt=\"TurquoiseWake1200\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003cstrong>Can you discuss your piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers?\u003c/strong>\u003c/p>\n\u003cp>I made this piece to tell the story of the connections between the escalation of the Vietnam War and the rise of containerization. 609 was ten times as many containers as the amount that could be transported on a regular ship previously, so this was revolutionary. The war, this logistically impossible thing, became very smooth.\u003c/p>\n\u003cp>I couldn’t have produced the work as easily in the US. I went to a traditional Vietnamese ceramic village to have them made. For them it was like, oh this is hardly anything, and for me I was like, this is a mass-scale project. So, there’s that underlying story of labor and mass production.\u003c/p>\n\u003cp>I’m still considering what it means to work at Random Parts, in this neighborhood. I can see containers coming in and out of the port. This neighborhood has been a southern Vietnamese diaspora for 40 years, and people here are facing violent gentrification. Again, there’s this connection between the local displacement and global displacement, which is so linked to world trade.\u003c/p>\n\u003cfigure id=\"attachment_11445097\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Containers1200.jpg\" alt=\"Gabby Miller, '609 Containers (1967),' 2015.\" width=\"1228\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-960x638.jpg 960w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, ‘609 Containers (1967),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Regardless of the city, country, or neighborhood you’re working in, whether you’re on land or at sea, you’re attuned to the violence and the repercussions of trade, and bringing that into your practice.\u003c/strong>\u003c/p>\n\u003cp>Yeah, these really powerful underlying narratives of Western imperialism, of ownership of people and goods. I’m investigating the ways we’re embedded in history and how that history loops.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/b> is on view at Random Parts in Oakland through April 2, with an \u003ca href=\"https://www.facebook.com/events/176984612687569/\" target=\"_blank\" rel=\"noopener\">open studio event\u003c/a> on April 2, 2-6pm. For more information visit \u003ca href=\"http://www.randomparts.org/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11444977/artist-gabby-miller-journeyed-from-oakland-to-china-by-cargo-ship",
"authors": [
"8633"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_989"
],
"featImg": "arts_11445094",
"label": "arts"
},
"arts_11094079": {
"type": "posts",
"id": "arts_11094079",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11094079",
"score": null,
"sort": [
1448294409000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1448294409,
"format": "standard",
"title": "Luxurious Hawaiian Featherwork Makes its Mainland Debut",
"headTitle": "Luxurious Hawaiian Featherwork Makes its Mainland Debut | KQED",
"content": "\u003cp>\u003cem>Royal Hawaiian Featherwork: Nā Hulu Ali’i\u003c/em>, on view at the de Young museum and on loan from the Bernice Pauahi Bishop Museum in Honolulu, is a gorgeous collection of 18th to early 20th century objects made for Hawaiian rulers. The approximately 75 pieces, including \u003cem>‘ahu ‘ula\u003c/em> (long cloaks and short capes), \u003cem>kāhili\u003c/em> (royal staffs of feathers), \u003cem>lei hulu manu\u003c/em> (feathered lei) and \u003cem>mahiole\u003c/em> (helmets) once provided spiritual protection and indications of status. Today they give glimpses into the lives of royals during a turbulent era. The objects tell a story of a people impacted by everything from European explorers and Christian missionaries to annexation by the United States (and ensuing protests by Hawaiians).\u003c/p>\n\u003cfigure id=\"attachment_11094186\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11094186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cloak-11094-b-44_cropped-e1448268402425.jpg\" alt=\"‘Ahu ‘ula (cloak), possibly mid-18th century.\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">‘Ahu ‘ula (cloak), possibly mid-18th century. \u003ccite>(Courtesy: Bernice Pauahi Bishop Museum, Ethnology Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Princess Ka’iulani of Waikiki wore a lei made of yellow \u003cem>‘ō’ō\u003c/em> feathers, red and green Kuhl’s lorikeet feathers and black ribbon on her 1893 journey to Washington, D.C., which she took to protest the overthrow of the Hawaiian monarchy. As a girl, Queen Emma wore a cape decorated with crescent shapes at the Chief’s Children’s School in Honolulu, run by two of the first missionaries to arrive on the islands. A large, bold cloak of \u003cem>‘i’iwi\u003c/em> feathers, \u003cem>‘ō’ō\u003c/em> feathers and \u003cem>olonā\u003c/em> fiber was given to US Naval Officer Lawrence Kearny as a gift for protesting British Admiral Lord George Paulet’s claim of British sovereignty over Hawaii.\u003c/p>\n\u003cp>The \u003cem>‘ahu ‘ula’\u003c/em>s clean lines, thick stripes, and in one case, full circles, appear remarkably modern. Had I seen them out of context, I might think they were made two centuries later. Like avant-garde artist \u003ca href=\"https://en.wikipedia.org/wiki/Sonia_Delaunay\" target=\"_blank\" rel=\"noopener\">Sonia Delaunay\u003c/a>‘s brilliant textiles, the capes feel like bright, rich fields one might melt into. These objects are, in certain senses of the word, delicious.\u003c/p>\n\u003cp>Feathers in mass quantity recall and simulate a range of substances, textures and environments. A large cloak made of brown pheasant feathers shimmers like a lake; an earthy red cloak appears softer, like powder; and one could mistake the white section of a hexagonal 18th-century cape for cotton.\u003c/p>\n\u003cp>Many of the lei, looped and tied with black silk ribbons, resemble large caterpillars. Laying flat below them, a 20th-century \u003cem>lei humupapa\u003c/em>, made of blue Indian peafowl or green pheasant male feathers and dark blue woven wool fleece, appears reptilian. The flexible connotations of these solid, functional and spiritual garments make them transportive presences.\u003c/p>\n\u003cfigure id=\"attachment_11094187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11094187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/lei447.jpg\" alt=\"Lei hulu (feather lei), 19th century.\" width=\"640\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/lei447.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/lei447-400x366.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lei hulu (feather lei), 19th century. \u003ccite>(Courtesy: Bernice Pauahi Bishop Museum, Henriques Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After spending several minutes looking closely at thousands of tiny, overlapping feathers, sensing the layers upon layers of concentration that built them, it is amazing to learn (thanks to a display of birds loaned from the California Academy of Sciences) that often, a single bird contributed only a few feathers to a piece. The now-extinct \u003cem>‘ō’ō\u003c/em> bird sported just two yellow feathers; its many remaining brown and black feathers went uncollected. The largest cloaks, made with up to half a million feathers, required an estimated 80,000 birds, and were constructed over the course of a generation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though one cannot see the \u003cem>‘ahu ‘ula\u003c/em> in action, 18th and 19th-century oil paintings and works on paper provide representations of how they fell over the bodies of royals. In Titan Ramsay Peale’s \u003cem>Kilauea by Day\u003c/em> (1842), the bold capes and helmets of warriors stand out against a vast, smoking volcanic crater.\u003c/p>\n\u003cp>\u003cem>Royal Hawaiian Featherwork\u003c/em> is, in many ways, a show of extremes: countless tiny, delicate feathers secured by exceptionally strong fiber; very bright yellow, rich red, deep black and near-alien greens; attire constructed expressly to be draped over the shoulders of rulers or rest in the hair of the elite.\u003c/p>\n\u003cp>It will be difficult to get these loud, luxurious works out my head, along with at least a few of the Hawaiian words I learned while walking through the gallery. I venture to say that anyone — art lover or hater, fashion enthusiast, Twitter exec, kid in a stroller — would find these garments irresistible, and might, as I did, daydream about wearing one out of the museum into the unstoppable greens of Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Royal Hawaiian Featherwork: Nā Hulu Ali’i\u003c/strong>\u003c/em> is on view at the de Young through Feb. 28, 2016. For tickets and more information, visit \u003ca href=\"http://deyoung.famsf.org/exhibitions/featherwork\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 764,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705045876,
"excerpt": "A gorgeous collection of 18th to early 20th century objects made for Hawaiian rulers arrives at the de Young.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A gorgeous collection of 18th to early 20th century objects made for Hawaiian rulers arrives at the de Young.",
"title": "Luxurious Hawaiian Featherwork Makes its Mainland Debut | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Luxurious Hawaiian Featherwork Makes its Mainland Debut",
"datePublished": "2015-11-23T08:00:09-08:00",
"dateModified": "2024-01-11T23:51:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "luxurious-hawaiian-featherwork-makes-its-mainland-debut",
"status": "publish",
"sticky": false,
"path": "/arts/11094079/luxurious-hawaiian-featherwork-makes-its-mainland-debut",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Royal Hawaiian Featherwork: Nā Hulu Ali’i\u003c/em>, on view at the de Young museum and on loan from the Bernice Pauahi Bishop Museum in Honolulu, is a gorgeous collection of 18th to early 20th century objects made for Hawaiian rulers. The approximately 75 pieces, including \u003cem>‘ahu ‘ula\u003c/em> (long cloaks and short capes), \u003cem>kāhili\u003c/em> (royal staffs of feathers), \u003cem>lei hulu manu\u003c/em> (feathered lei) and \u003cem>mahiole\u003c/em> (helmets) once provided spiritual protection and indications of status. Today they give glimpses into the lives of royals during a turbulent era. The objects tell a story of a people impacted by everything from European explorers and Christian missionaries to annexation by the United States (and ensuing protests by Hawaiians).\u003c/p>\n\u003cfigure id=\"attachment_11094186\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11094186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cloak-11094-b-44_cropped-e1448268402425.jpg\" alt=\"‘Ahu ‘ula (cloak), possibly mid-18th century.\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">‘Ahu ‘ula (cloak), possibly mid-18th century. \u003ccite>(Courtesy: Bernice Pauahi Bishop Museum, Ethnology Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Princess Ka’iulani of Waikiki wore a lei made of yellow \u003cem>‘ō’ō\u003c/em> feathers, red and green Kuhl’s lorikeet feathers and black ribbon on her 1893 journey to Washington, D.C., which she took to protest the overthrow of the Hawaiian monarchy. As a girl, Queen Emma wore a cape decorated with crescent shapes at the Chief’s Children’s School in Honolulu, run by two of the first missionaries to arrive on the islands. A large, bold cloak of \u003cem>‘i’iwi\u003c/em> feathers, \u003cem>‘ō’ō\u003c/em> feathers and \u003cem>olonā\u003c/em> fiber was given to US Naval Officer Lawrence Kearny as a gift for protesting British Admiral Lord George Paulet’s claim of British sovereignty over Hawaii.\u003c/p>\n\u003cp>The \u003cem>‘ahu ‘ula’\u003c/em>s clean lines, thick stripes, and in one case, full circles, appear remarkably modern. Had I seen them out of context, I might think they were made two centuries later. Like avant-garde artist \u003ca href=\"https://en.wikipedia.org/wiki/Sonia_Delaunay\" target=\"_blank\" rel=\"noopener\">Sonia Delaunay\u003c/a>‘s brilliant textiles, the capes feel like bright, rich fields one might melt into. These objects are, in certain senses of the word, delicious.\u003c/p>\n\u003cp>Feathers in mass quantity recall and simulate a range of substances, textures and environments. A large cloak made of brown pheasant feathers shimmers like a lake; an earthy red cloak appears softer, like powder; and one could mistake the white section of a hexagonal 18th-century cape for cotton.\u003c/p>\n\u003cp>Many of the lei, looped and tied with black silk ribbons, resemble large caterpillars. Laying flat below them, a 20th-century \u003cem>lei humupapa\u003c/em>, made of blue Indian peafowl or green pheasant male feathers and dark blue woven wool fleece, appears reptilian. The flexible connotations of these solid, functional and spiritual garments make them transportive presences.\u003c/p>\n\u003cfigure id=\"attachment_11094187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11094187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/lei447.jpg\" alt=\"Lei hulu (feather lei), 19th century.\" width=\"640\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/lei447.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/lei447-400x366.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lei hulu (feather lei), 19th century. \u003ccite>(Courtesy: Bernice Pauahi Bishop Museum, Henriques Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After spending several minutes looking closely at thousands of tiny, overlapping feathers, sensing the layers upon layers of concentration that built them, it is amazing to learn (thanks to a display of birds loaned from the California Academy of Sciences) that often, a single bird contributed only a few feathers to a piece. The now-extinct \u003cem>‘ō’ō\u003c/em> bird sported just two yellow feathers; its many remaining brown and black feathers went uncollected. The largest cloaks, made with up to half a million feathers, required an estimated 80,000 birds, and were constructed over the course of a generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though one cannot see the \u003cem>‘ahu ‘ula\u003c/em> in action, 18th and 19th-century oil paintings and works on paper provide representations of how they fell over the bodies of royals. In Titan Ramsay Peale’s \u003cem>Kilauea by Day\u003c/em> (1842), the bold capes and helmets of warriors stand out against a vast, smoking volcanic crater.\u003c/p>\n\u003cp>\u003cem>Royal Hawaiian Featherwork\u003c/em> is, in many ways, a show of extremes: countless tiny, delicate feathers secured by exceptionally strong fiber; very bright yellow, rich red, deep black and near-alien greens; attire constructed expressly to be draped over the shoulders of rulers or rest in the hair of the elite.\u003c/p>\n\u003cp>It will be difficult to get these loud, luxurious works out my head, along with at least a few of the Hawaiian words I learned while walking through the gallery. I venture to say that anyone — art lover or hater, fashion enthusiast, Twitter exec, kid in a stroller — would find these garments irresistible, and might, as I did, daydream about wearing one out of the museum into the unstoppable greens of Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Royal Hawaiian Featherwork: Nā Hulu Ali’i\u003c/strong>\u003c/em> is on view at the de Young through Feb. 28, 2016. For tickets and more information, visit \u003ca href=\"http://deyoung.famsf.org/exhibitions/featherwork\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11094079/luxurious-hawaiian-featherwork-makes-its-mainland-debut",
"authors": [
"8633"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_11102959",
"label": "arts"
},
"arts_10867552": {
"type": "posts",
"id": "arts_10867552",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10867552",
"score": null,
"sort": [
1439222401000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1439222401,
"format": "standard",
"title": "Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives",
"headTitle": "Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Will Brown / MATRIX 259’\u003c/h2>\n\u003cdiv class=\"event-desc\">An exhibition in three parts.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">UC Berkeley Art Museum and Pacific Film Archive, UC Berkeley Morrison Library\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At the UC Berkeley Art Museum and Pacific Film Archive, \u003cem>\u003ca href=\"http://bampfa.berkeley.edu/exhibition/259\" target=\"_blank\" rel=\"noopener\">Will Brown / MATRIX 259\u003c/a>\u003c/em> reactivates and expands on the history of a light installation by renowned minimalist artist Dan Flavin. The 1977–78 piece, \u003cem>untitled (for Gretchen, a colorful and fond match)\u003c/em> sets in motion a host of new narratives linked to the transitioning museum and the Bay Area art scene’s ever changing character.\u003c/p>\n\u003cp>The show consists of several parts: a car full of ephemera which appears to have been abandoned in front of the now-closed Bancroft Way museum entrance; a light installation on the museum’s roof; an artist book on view at \u003ca href=\"http://www.lib.berkeley.edu/libraries/morrison-library\" target=\"_blank\" rel=\"noopener\">UC Berkeley’s Morrison Library\u003c/a>; and \u003cem>New Light on Riboflavin\u003c/em>, a play written by the poet Kevin Killian and performed on June 12, the night of the opening. I asked David Kasprzak, Jordan Stein and Lindsey White, the collaborators who make up \u003ca href=\"http://wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a>, to discuss this exhibition and their practice.\u003c/p>\n\u003cp>\u003cstrong>Your projects extend authorship to numerous individuals, many of whom aren’t involved in the initial conception or planning, but end up playing key roles in shaping content.\u003c/strong>\u003c/p>\n\u003cp>The question of authorship is something that was part of the Will Brown conversation from day one, or really even before day one. By calling our project Will Brown — creating a sort of fictional entity that could be anyone — the three of us were free to operate under a certain amount of anonymity and, more importantly, as a unified practice.\u003c/p>\n\u003cp>Our core interest lies in historical narratives, which always involve major and minor characters. In the case of this particular Dan Flavin history, the story of the BAM/PFA light installation wouldn’t exist without Gretchen Glicksman, the museum’s registrar, Barney Bailey, the museum’s chief preparator, and many others. In this way, Will Brown is as interested in people themselves as in the work they do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our projects wouldn’t happen without a lot of players, and we get to learn so much from them in the process of realizing an installation or program. It’s possible to look at Will Brown as a mini-institution in that it takes a lot of individuals playing different roles to execute something. The key difference is that we aim to collaborate with people in a more open, equal and malleable way.\u003c/p>\n\u003cp>\u003cstrong>What do you attribute this tendency in your practice to?\u003c/strong>\u003c/p>\n\u003cp>The three of us all came up in proactive, DIY, semi-marginal communities, which had a major impact on how we think about art and society. Nothing got done unless we did it ourselves, and “ourselves” was always people working together. The Bay Area is filled with so many smart, funny, interesting, unique individuals that it only makes sense for us to work with as many of them as possible. Given the current cultural and financial climate here, we imagine this type of collaboration is only going to become more crucial.\u003c/p>\n\u003cfigure id=\"attachment_10868489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10868489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg\" alt=\"'Will Brown / MATRIX 259,' 2015. (Photo: Will Brown)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2.jpg 1100w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Will Brown / MATRIX 259,’ 2015. (Photo: Will Brown)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you reflect on the process of choosing and arranging the ephemera in the car and in the artist book?\u003c/strong>\u003c/p>\n\u003cp>The book is an archive related to Dan Flavin and his exhibition at BAM/PFA (then the University Museum) in 1978 and our own research, correspondence and other material concerning our MATRIX show. It’s a mirror, or a boomerang, between the past and the present.\u003c/p>\n\u003cp>The car is a less formal sculptural archive of the MATRIX program and of BAM/PFA itself. The materials inside are a mixture of actual ephemera from the MATRIX archive, objects, books and posters from the museum store, items given to us by other Bay Area artists who worked with BAM/PFA at some point and material we fabricated ourselves. The fun is trying to figure out what’s “real” and what’s “fake.”\u003c/p>\n\u003cp>We spent a good week moving things around the car and constructing the tableaux. We wanted it to feel like someone had been living in there. After that week of working in there non-stop, we didn’t really have to pretend anymore.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>New Light on Riboflavin\u003c/em> was performed on the opening night at the original museum’s entrance. What are your thoughts on the experience of being in the audience of this theatrical production on June 12 versus viewing the exhibition on any other day?\u003c/strong>\u003c/p>\n\u003cp>We commissioned Kevin Killian to write a play about anything he wanted, but requested that it include Dan Flavin, a green glow and a comment about the current state of the Bay Area art scene. \u003cem>New Light on Riboflavin\u003c/em> is an important component of the exhibition, but it’s one of five parts. This exhibition activates history through several different experiences.\u003c/p>\n\u003cp>The opening was an excellent event with people flooding the exterior of the now-closed museum to catch a glimpse of the play. Kevin is a genius of tying together history, pop culture and the artist’s struggle in crude and hilarious ways. Those in the audience who stuck around past 9pm saw the green glow emanating from underneath the car and from the roof of the museum, along with a little fog set on a timer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each element of the exhibition is a little slippery and very theatrical, similar to how people recount historical events. You may pass the museum during the day and not even see the green glow. You may walk up to the car, look through the windows and think it’s just a bunch of junk. At night, the museum entrance looks completely different, as if an alien life force has taken over. You may stumble upon the artist book in the Morrison Library and wonder why some lunatic is obsessed with Dan Flavin. There are many versions of the story. Each person will have a different experience of seeing it, and that excites us.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1033,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705046597,
"excerpt": "The collaborators behind Will Brown reveal why the UC Berkeley Art Museum takes on a green glow at night.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The collaborators behind Will Brown reveal why the UC Berkeley Art Museum takes on a green glow at night.",
"title": "Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives",
"datePublished": "2015-08-10T09:00:01-07:00",
"dateModified": "2024-01-12T00:03:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "berkeleys-matrix-259-dives-mischievously-into-the-archives",
"status": "publish",
"sticky": false,
"path": "/arts/10867552/berkeleys-matrix-259-dives-mischievously-into-the-archives",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Will Brown / MATRIX 259’\u003c/h2>\n\u003cdiv class=\"event-desc\">An exhibition in three parts.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">UC Berkeley Art Museum and Pacific Film Archive, UC Berkeley Morrison Library\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At the UC Berkeley Art Museum and Pacific Film Archive, \u003cem>\u003ca href=\"http://bampfa.berkeley.edu/exhibition/259\" target=\"_blank\" rel=\"noopener\">Will Brown / MATRIX 259\u003c/a>\u003c/em> reactivates and expands on the history of a light installation by renowned minimalist artist Dan Flavin. The 1977–78 piece, \u003cem>untitled (for Gretchen, a colorful and fond match)\u003c/em> sets in motion a host of new narratives linked to the transitioning museum and the Bay Area art scene’s ever changing character.\u003c/p>\n\u003cp>The show consists of several parts: a car full of ephemera which appears to have been abandoned in front of the now-closed Bancroft Way museum entrance; a light installation on the museum’s roof; an artist book on view at \u003ca href=\"http://www.lib.berkeley.edu/libraries/morrison-library\" target=\"_blank\" rel=\"noopener\">UC Berkeley’s Morrison Library\u003c/a>; and \u003cem>New Light on Riboflavin\u003c/em>, a play written by the poet Kevin Killian and performed on June 12, the night of the opening. I asked David Kasprzak, Jordan Stein and Lindsey White, the collaborators who make up \u003ca href=\"http://wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a>, to discuss this exhibition and their practice.\u003c/p>\n\u003cp>\u003cstrong>Your projects extend authorship to numerous individuals, many of whom aren’t involved in the initial conception or planning, but end up playing key roles in shaping content.\u003c/strong>\u003c/p>\n\u003cp>The question of authorship is something that was part of the Will Brown conversation from day one, or really even before day one. By calling our project Will Brown — creating a sort of fictional entity that could be anyone — the three of us were free to operate under a certain amount of anonymity and, more importantly, as a unified practice.\u003c/p>\n\u003cp>Our core interest lies in historical narratives, which always involve major and minor characters. In the case of this particular Dan Flavin history, the story of the BAM/PFA light installation wouldn’t exist without Gretchen Glicksman, the museum’s registrar, Barney Bailey, the museum’s chief preparator, and many others. In this way, Will Brown is as interested in people themselves as in the work they do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our projects wouldn’t happen without a lot of players, and we get to learn so much from them in the process of realizing an installation or program. It’s possible to look at Will Brown as a mini-institution in that it takes a lot of individuals playing different roles to execute something. The key difference is that we aim to collaborate with people in a more open, equal and malleable way.\u003c/p>\n\u003cp>\u003cstrong>What do you attribute this tendency in your practice to?\u003c/strong>\u003c/p>\n\u003cp>The three of us all came up in proactive, DIY, semi-marginal communities, which had a major impact on how we think about art and society. Nothing got done unless we did it ourselves, and “ourselves” was always people working together. The Bay Area is filled with so many smart, funny, interesting, unique individuals that it only makes sense for us to work with as many of them as possible. Given the current cultural and financial climate here, we imagine this type of collaboration is only going to become more crucial.\u003c/p>\n\u003cfigure id=\"attachment_10868489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10868489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg\" alt=\"'Will Brown / MATRIX 259,' 2015. (Photo: Will Brown)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2.jpg 1100w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Will Brown / MATRIX 259,’ 2015. (Photo: Will Brown)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you reflect on the process of choosing and arranging the ephemera in the car and in the artist book?\u003c/strong>\u003c/p>\n\u003cp>The book is an archive related to Dan Flavin and his exhibition at BAM/PFA (then the University Museum) in 1978 and our own research, correspondence and other material concerning our MATRIX show. It’s a mirror, or a boomerang, between the past and the present.\u003c/p>\n\u003cp>The car is a less formal sculptural archive of the MATRIX program and of BAM/PFA itself. The materials inside are a mixture of actual ephemera from the MATRIX archive, objects, books and posters from the museum store, items given to us by other Bay Area artists who worked with BAM/PFA at some point and material we fabricated ourselves. The fun is trying to figure out what’s “real” and what’s “fake.”\u003c/p>\n\u003cp>We spent a good week moving things around the car and constructing the tableaux. We wanted it to feel like someone had been living in there. After that week of working in there non-stop, we didn’t really have to pretend anymore.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>New Light on Riboflavin\u003c/em> was performed on the opening night at the original museum’s entrance. What are your thoughts on the experience of being in the audience of this theatrical production on June 12 versus viewing the exhibition on any other day?\u003c/strong>\u003c/p>\n\u003cp>We commissioned Kevin Killian to write a play about anything he wanted, but requested that it include Dan Flavin, a green glow and a comment about the current state of the Bay Area art scene. \u003cem>New Light on Riboflavin\u003c/em> is an important component of the exhibition, but it’s one of five parts. This exhibition activates history through several different experiences.\u003c/p>\n\u003cp>The opening was an excellent event with people flooding the exterior of the now-closed museum to catch a glimpse of the play. Kevin is a genius of tying together history, pop culture and the artist’s struggle in crude and hilarious ways. Those in the audience who stuck around past 9pm saw the green glow emanating from underneath the car and from the roof of the museum, along with a little fog set on a timer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each element of the exhibition is a little slippery and very theatrical, similar to how people recount historical events. You may pass the museum during the day and not even see the green glow. You may walk up to the car, look through the windows and think it’s just a bunch of junk. At night, the museum entrance looks completely different, as if an alien life force has taken over. You may stumble upon the artist book in the Morrison Library and wonder why some lunatic is obsessed with Dan Flavin. There are many versions of the story. Each person will have a different experience of seeing it, and that excites us.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10867552/berkeleys-matrix-259-dives-mischievously-into-the-archives",
"authors": [
"8633"
],
"programs": [
"arts_140"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596",
"arts_989"
],
"featImg": "arts_10887844",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"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 />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"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",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"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.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"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",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"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": {
"site": "news",
"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/",
"meta": {
"site": "news",
"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": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"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": {
"site": "news",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts?author=8633&authorName=Emily Hunt": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 9
},
"vitalsOnly": false,
"totalRequested": 4,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4,
"relation": "eq"
},
"items": [
"arts_11998042",
"arts_11444977",
"arts_11094079",
"arts_10867552"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
