Sarah Hotchkiss is a San Francisco artist and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.
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"content": "\n\u003cp class=\"wp-block-paragraph\">In 1972, the Italian musician Adriano Celentano released a 4-minute single that sounds almost like English, but isn’t quite fully there. “\u003ca href=\"https://www.youtube.com/watch?v=fU-wH8SrFro\">Prisencolinensinainciusol\u003c/a>” was sung in improvised gibberish, meant to mimic how American English sounds to non-English speakers. With Celentano’s confident phrasing, listeners were entranced: the song reached the Top 10 in three different countries. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Karla Knight’s artwork creates a similar feeling, a slipperiness between information and incomprehension. Her paintings, tapestries and works on paper, now on view in \u003cem>\u003ca href=\"https://gallerywendinorris.com/exhibitions/116-karla-knight-fine-tuner/\">Fine Tuner\u003c/a>\u003c/em> at Gallery Wendi Norris, look like missives from an alien source. And instead of translating, Knight welcomes audiences into an exuberant, freeing world of her own invention.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In diagrammic, geometric arrangements of shapes and symbols, Knight’s work seems like it \u003cem>should\u003c/em> be explaining something. Some pieces resemble the annotated pages of a space-age user manual. Others, the blueprints for a telepathic communication system. Her compositions are orderly, square, pleasingly spaced. She works in eye-catching blues and reds, layering mediums and textures that reward in-person viewing. If her art \u003cem>did\u003c/em> contain vital information, we would definitely pay attention.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13995367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932.jpg\" alt=\"\" class=\"wp-image-13995367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">Karla Knight, ‘Little Orbit Drawing 4,’ 2026; Graphite and colored pencil on paper. (Courtesy of the artist and Andrew Edlin Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13995366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623.jpg\" alt=\"\" class=\"wp-image-13995366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">Karla Knight, ‘A Strange Orbit,’ 2024–2026; Oil, flashe, and pencil on paper mounted on linen. (Courtesy of the artist and Andrew Edlin Gallery)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">And yet in each of her pieces, Knight includes grids of nonsense glyphs — an imaginary alphabet that entered her work after she first watched her son grapple with letters. Knight is adamant that she does not have a translation for her symbols. There is no secret message, there is no decoder ring. What she describes is a process of automatic writing with no fixed alphabet.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">When she does include the English language, Knight borrows, often from science books. She’s less interested in understanding the universe than she is in referencing the language and look of these materials to create something else entirely. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In her works on paper, she adorns images of comets and moonscapes with graphite and colored pencil marginalia, typed lists and luminous spheres. The mix of mark-making looks like decipherment without a clear destination — ideas spin out in multiple directions. Playfully, on \u003cem>Little Orbit Drawing 4\u003c/em>, she has typed “Now what do you want to do?”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Knight’s use of language is poetic and delightful. Numbered lists dot the works on paper with goofy phrases like “ooze dweller,” “normal nothing” and “void voice.” How serious and definitive could this science thing be, with “shy teeth” somewhere in the mix?\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab.jpg\" alt=\"\" class=\"wp-image-13995364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Installation view of Karla Knight, ‘Fine Tuner’ at Gallery Wendi Norris. (Chris Grunder)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Knight was primed from an early age to be open to more than one reality. Her father, the author David C. Knight, published both mainstream science books and more fringe texts, including \u003cem>Those Mysterious UFOs\u003c/em> and \u003cem>The ESP Reader\u003c/em>. (Meanwhile, as \u003cem>this\u003c/em> reality grows increasingly surreal, Knight’s work begins to seem like a useful training regimen for our present.) \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">If her work is predictive, I look forward to the physicality it represents. Knight’s strategic use of thick brushstrokes, slight wobbles and hand-sewn embroidery drive home its tangibility. This art may have technological influences, but it springs from Knight’s mind, and is made by her own hands. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">When we have so many tools at our fingertips — AI translators and chatty little agents and summarized search results — it’s tempting to strip the mystery from everything, to explain everything away into an archived file. Knight’s work, conversely, creates new mysteries. With invented language and novel ways of presenting information, she pushes back against oversimplification.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Despite the neatness of her art, Knight complicates things. She pulls us, willingly, into the unknown.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/116-karla-knight-fine-tuner/\">\u003cem>Fine Tuner\u003c/em>\u003c/a>\u003cem>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through Dec. 23, 2026.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Knight’s use of language is poetic and delightful. Numbered lists dot the works on paper with goofy phrases like “ooze dweller,” “normal nothing” and “void voice.” How serious and definitive could this science thing be, with “shy teeth” somewhere in the mix?\u003c/p>\n",
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"innerHTML": "\n\u003cp>Knight was primed from an early age to be open to more than one reality. Her father, the author David C. Knight, published both mainstream science books and more fringe texts, including \u003cem>Those Mysterious UFOs\u003c/em> and \u003cem>The ESP Reader\u003c/em>. (Meanwhile, as \u003cem>this\u003c/em> reality grows increasingly surreal, Knight’s work begins to seem like a useful training regimen for our present.) \u003c/p>\n",
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"innerHTML": "\n\u003cp>If her work is predictive, I look forward to the physicality it represents. Knight’s strategic use of thick brushstrokes, slight wobbles and hand-sewn embroidery drive home its tangibility. This art may have technological influences, but it springs from Knight’s mind, and is made by her own hands. \u003c/p>\n",
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"innerHTML": "\n\u003cp>‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/116-karla-knight-fine-tuner/\">\u003cem>Fine Tuner\u003c/em>\u003c/a>\u003cem>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through Dec. 23, 2026.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">In 1972, the Italian musician Adriano Celentano released a 4-minute single that sounds almost like English, but isn’t quite fully there. “\u003ca href=\"https://www.youtube.com/watch?v=fU-wH8SrFro\">Prisencolinensinainciusol\u003c/a>” was sung in improvised gibberish, meant to mimic how American English sounds to non-English speakers. With Celentano’s confident phrasing, listeners were entranced: the song reached the Top 10 in three different countries. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Karla Knight’s artwork creates a similar feeling, a slipperiness between information and incomprehension. Her paintings, tapestries and works on paper, now on view in \u003cem>\u003ca href=\"https://gallerywendinorris.com/exhibitions/116-karla-knight-fine-tuner/\">Fine Tuner\u003c/a>\u003c/em> at Gallery Wendi Norris, look like missives from an alien source. And instead of translating, Knight welcomes audiences into an exuberant, freeing world of her own invention.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In diagrammic, geometric arrangements of shapes and symbols, Knight’s work seems like it \u003cem>should\u003c/em> be explaining something. Some pieces resemble the annotated pages of a space-age user manual. Others, the blueprints for a telepathic communication system. Her compositions are orderly, square, pleasingly spaced. She works in eye-catching blues and reds, layering mediums and textures that reward in-person viewing. If her art \u003cem>did\u003c/em> contain vital information, we would definitely pay attention.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13995367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932.jpg\" alt=\"\" class=\"wp-image-13995367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0004_Little-Orbit-Drawing-4_2026_2000-b24bd932-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">Karla Knight, ‘Little Orbit Drawing 4,’ 2026; Graphite and colored pencil on paper. (Courtesy of the artist and Andrew Edlin Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13995366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623.jpg\" alt=\"\" class=\"wp-image-13995366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/KK0002_A-Strange-Orbit_2024-2026_2000-f7a86623-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">Karla Knight, ‘A Strange Orbit,’ 2024–2026; Oil, flashe, and pencil on paper mounted on linen. (Courtesy of the artist and Andrew Edlin Gallery)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">And yet in each of her pieces, Knight includes grids of nonsense glyphs — an imaginary alphabet that entered her work after she first watched her son grapple with letters. Knight is adamant that she does not have a translation for her symbols. There is no secret message, there is no decoder ring. What she describes is a process of automatic writing with no fixed alphabet.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">When she does include the English language, Knight borrows, often from science books. She’s less interested in understanding the universe than she is in referencing the language and look of these materials to create something else entirely. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In her works on paper, she adorns images of comets and moonscapes with graphite and colored pencil marginalia, typed lists and luminous spheres. The mix of mark-making looks like decipherment without a clear destination — ideas spin out in multiple directions. Playfully, on \u003cem>Little Orbit Drawing 4\u003c/em>, she has typed “Now what do you want to do?”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Knight’s use of language is poetic and delightful. Numbered lists dot the works on paper with goofy phrases like “ooze dweller,” “normal nothing” and “void voice.” How serious and definitive could this science thing be, with “shy teeth” somewhere in the mix?\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab.jpg\" alt=\"\" class=\"wp-image-13995364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/2026_10_29_GWN5580_2000-cfc096ab-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Installation view of Karla Knight, ‘Fine Tuner’ at Gallery Wendi Norris. (Chris Grunder)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Knight was primed from an early age to be open to more than one reality. Her father, the author David C. Knight, published both mainstream science books and more fringe texts, including \u003cem>Those Mysterious UFOs\u003c/em> and \u003cem>The ESP Reader\u003c/em>. (Meanwhile, as \u003cem>this\u003c/em> reality grows increasingly surreal, Knight’s work begins to seem like a useful training regimen for our present.) \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">If her work is predictive, I look forward to the physicality it represents. Knight’s strategic use of thick brushstrokes, slight wobbles and hand-sewn embroidery drive home its tangibility. This art may have technological influences, but it springs from Knight’s mind, and is made by her own hands. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">When we have so many tools at our fingertips — AI translators and chatty little agents and summarized search results — it’s tempting to strip the mystery from everything, to explain everything away into an archived file. Knight’s work, conversely, creates new mysteries. With invented language and novel ways of presenting information, she pushes back against oversimplification.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Despite the neatness of her art, Knight complicates things. She pulls us, willingly, into the unknown.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/116-karla-knight-fine-tuner/\">\u003cem>Fine Tuner\u003c/em>\u003c/a>\u003cem>’ is on view at Gallery Wendi Norris (436 Jackson St., San Francisco) through Dec. 23, 2026.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "being-heumann-judy-disability-rights-activist-section-504-san-francisco",
"title": "‘Being Heumann’ Tells a Disability Rights Story Packed With Real-Life Drama",
"publishDate": 1793751110,
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"headTitle": "‘Being Heumann’ Tells a Disability Rights Story Packed With Real-Life Drama | KQED",
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"content": "\n\u003cp class=\"wp-block-paragraph\">Early on in \u003cem>Being Heumann\u003c/em>, a biopic based on disability rights activist \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">Judy Heumann\u003c/a>’s 2020 \u003ca href=\"https://judithheumann.com/being-heumann/\">memoir\u003c/a>, Heumann interrogates the motives of a KGO-TV reporter. The journalist is covering the 1977 Section 504 Sit-In in San Francisco, which still holds the record for the longest sit-in of a federal building in American history.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“If people would hear this story, they’d be inspired,” the reporter says.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Inspired to do something?” Heumann counters. “Or just inspired?”\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">It’s a mic drop of a moment in a film that is full of memorable zingers. But it’s one of the few lines that jumps out of the screen to implicate not just the TV-watching audiences of 1977, but the movie-watching audiences of 2026. How will \u003cem>you\u003c/em> consume this story, Heumann asks through the avatar of actor Ruth Madeley, and what will you do with that knowledge?\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Directed and co-written by Siân Heder, who helmed the Academy Award-winning film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13901279/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">CODA\u003c/a>\u003c/em> in 2021, \u003cem>Being Heumann\u003c/em> tells the story of the 26-day occupation that led to the signing (spoiler alert) of Section 504 of the Rehabilitation Act of 1973. The long-delayed piece of legislation prohibited discrimination against people with disabilities in programs that received federal funding. In short, Section 504 established the civil rights of disabled people — rights that are now being \u003ca href=\"https://www.npr.org/2026/10/01/nx-s1-5981375/integration-mandate-disabilities-reversed-trump\">threatened by the Trump administration\u003c/a>.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">While Heumann is the central focus of the movie, \u003cem>Being Heumann\u003c/em> has a lot to say about coalition-building, the pitfalls of leadership and all the different ways people can commit to a movement. Like \u003cem>CODA\u003c/em>, it’s a film rooted in the culture it depicts, starring 12 disabled lead actors and screening with open captions.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568.jpg\" alt=\"man in suit stands on table among crowd of protesters with ASL interpreter nearby\" class=\"wp-image-13995312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mark Ruffalo as Joseph Califano in ‘Being Heumann.’ (Apple TV)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The antagonist in this story is Joseph Califano (a stubborn Mark Ruffalo), the Secretary of Health, Education, and Welfare, who has inherited Section 504 and refuses to meet with or even listen to the disabled community about issuing the regulations. In the movie, a sequence of Heumann repeatedly calling Califano’s office drives home her persistence, and the stunning lack of respect the activists were up against.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">By the time we get to April 5, 1977, we’re just as fed up with this treatment as Heumann was. The occupation begins with a group of over 150 activists, including disabled people, their caretakers, interpreters and allies, taking over the fourth floor of San Francisco’s Federal Building (inaccessible at the time), and refusing to leave until Califano signs Section 504. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Some of the most interesting scenes in \u003cem>Being Heumann\u003c/em> are the nitty gritty practicalities of sustaining the occupation. People with different disabilities care for each other. The Black Panthers provide food. Committees form, lectures ensue, joints are distributed. The protesters even jury-rig an office air conditioner to refrigerate medication.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939.jpg\" alt=\"a cop stops a group of people, some in wheelchairs, outside a building\" class=\"wp-image-13995314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Andrew Pilkington, Siena Rafter, Charlie Rush-Reese, Dylan O’Brien, Roberta Colindrez, Ruth Madeley and Madeline Delp star in ‘Being Heumann.’ (Apple TV)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Heder intermingles scenes of wheelchair races and intersectional bonding with the tactical planning that goes into maintaining the protest’s momentum. Early in the film, we learn Heumann is willing to put her own body on the line. But that tactic isn’t for everyone, fellow leader Kitty Cone argues. Madeline Delp plays Cone, an equally formidable disability rights activist, as a source of balance — and an active challenger to Heumann’s leadership style.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">There are many scenes in \u003cem>Being Heumann\u003c/em> that seem too spectacular to be true. Did deaf protesters really sign messages through the window after the phone lines were cut? Without accessible transportation, did they really ride around Washington, D.C. in a box truck with a cargo lift? Did Cone really give \u003ca href=\"https://www.youtube.com/watch?v=HQ3kcSgAX-w\">an incredible speech\u003c/a> in Civic Center at the end of the occupation? Yes, yes and yes.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Because it’s a movie filled with fun costumes, big set pieces and a 1970s soundtrack, we expect embellishment for the sake of storytelling. But as photographs from the sit-in plainly show during the end credits, \u003cem>Being Heumann\u003c/em>’s biggest moments are entirely true. Alternately infuriating, moving, informative and galvanizing, \u003cem>Being Heumann\u003c/em> shows how many real-life stories — packed with drama, humor and righteous energy — are just waiting to be told.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003cem>Being Heumann’ opens in theaters Nov. 6, 2026 and begins \u003ca href=\"https://tv.apple.com/us/movie/being-heumann/umc.cmc.5gf63v7zj97yiozkpj26lpy55\">streaming on Apple TV\u003c/a> Nov. 13.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Early on in \u003cem>Being Heumann\u003c/em>, a biopic based on disability rights activist \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">Judy Heumann\u003c/a>’s 2020 \u003ca href=\"https://judithheumann.com/being-heumann/\">memoir\u003c/a>, Heumann interrogates the motives of a KGO-TV reporter. The journalist is covering the 1977 Section 504 Sit-In in San Francisco, which still holds the record for the longest sit-in of a federal building in American history.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“If people would hear this story, they’d be inspired,” the reporter says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Inspired to do something?” Heumann counters. “Or just inspired?”\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s a mic drop of a moment in a film that is full of memorable zingers. But it’s one of the few lines that jumps out of the screen to implicate not just the TV-watching audiences of 1977, but the movie-watching audiences of 2026. How will \u003cem>you\u003c/em> consume this story, Heumann asks through the avatar of actor Ruth Madeley, and what will you do with that knowledge?\u003c/p>\n",
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"innerHTML": "\n\u003cp>Directed and co-written by Siân Heder, who helmed the Academy Award-winning film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13901279/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">CODA\u003c/a>\u003c/em> in 2021, \u003cem>Being Heumann\u003c/em> tells the story of the 26-day occupation that led to the signing (spoiler alert) of Section 504 of the Rehabilitation Act of 1973. The long-delayed piece of legislation prohibited discrimination against people with disabilities in programs that received federal funding. In short, Section 504 established the civil rights of disabled people — rights that are now being \u003ca href=\"https://www.npr.org/2026/10/01/nx-s1-5981375/integration-mandate-disabilities-reversed-trump\">threatened by the Trump administration\u003c/a>.\u003c/p>\n",
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"\n\u003cp>Directed and co-written by Siân Heder, who helmed the Academy Award-winning film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13901279/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">CODA\u003c/a>\u003c/em> in 2021, \u003cem>Being Heumann\u003c/em> tells the story of the 26-day occupation that led to the signing (spoiler alert) of Section 504 of the Rehabilitation Act of 1973. The long-delayed piece of legislation prohibited discrimination against people with disabilities in programs that received federal funding. In short, Section 504 established the civil rights of disabled people — rights that are now being \u003ca href=\"https://www.npr.org/2026/10/01/nx-s1-5981375/integration-mandate-disabilities-reversed-trump\">threatened by the Trump administration\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>While Heumann is the central focus of the movie, \u003cem>Being Heumann\u003c/em> has a lot to say about coalition-building, the pitfalls of leadership and all the different ways people can commit to a movement. Like \u003cem>CODA\u003c/em>, it’s a film rooted in the culture it depicts, starring 12 disabled lead actors and screening with open captions.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568.jpg\" alt=\"man in suit stands on table among crowd of protesters with ASL interpreter nearby\" class=\"wp-image-13995312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Mark Ruffalo as Joseph Califano in ‘Being Heumann.’\u003ccite class=\"wp-inline-image-credit\"> (Apple TV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The antagonist in this story is Joseph Califano (a stubborn Mark Ruffalo), the Secretary of Health, Education, and Welfare, who has inherited Section 504 and refuses to meet with or even listen to the disabled community about issuing the regulations. In the movie, a sequence of Heumann repeatedly calling Califano’s office drives home her persistence, and the stunning lack of respect the activists were up against.\u003c/p>\n",
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"innerHTML": "\n\u003cp>By the time we get to April 5, 1977, we’re just as fed up with this treatment as Heumann was. The occupation begins with a group of over 150 activists, including disabled people, their caretakers, interpreters and allies, taking over the fourth floor of San Francisco’s Federal Building (inaccessible at the time), and refusing to leave until Califano signs Section 504. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Some of the most interesting scenes in \u003cem>Being Heumann\u003c/em> are the nitty gritty practicalities of sustaining the occupation. People with different disabilities care for each other. The Black Panthers provide food. Committees form, lectures ensue, joints are distributed. The protesters even jury-rig an office air conditioner to refrigerate medication.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Heder intermingles scenes of wheelchair races and intersectional bonding with the tactical planning that goes into maintaining the protest’s momentum. Early in the film, we learn Heumann is willing to put her own body on the line. But that tactic isn’t for everyone, fellow leader Kitty Cone argues. Madeline Delp plays Cone, an equally formidable disability rights activist, as a source of balance — and an active challenger to Heumann’s leadership style.\u003c/p>\n",
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"innerHTML": "\n\u003cp>There are many scenes in \u003cem>Being Heumann\u003c/em> that seem too spectacular to be true. Did deaf protesters really sign messages through the window after the phone lines were cut? Without accessible transportation, did they really ride around Washington, D.C. in a box truck with a cargo lift? Did Cone really give \u003ca href=\"https://www.youtube.com/watch?v=HQ3kcSgAX-w\">an incredible speech\u003c/a> in Civic Center at the end of the occupation? Yes, yes and yes.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Because it’s a movie filled with fun costumes, big set pieces and a 1970s soundtrack, we expect embellishment for the sake of storytelling. But as photographs from the sit-in plainly show during the end credits, \u003cem>Being Heumann\u003c/em>’s biggest moments are entirely true. Alternately infuriating, moving, informative and galvanizing, \u003cem>Being Heumann\u003c/em> shows how many real-life stories — packed with drama, humor and righteous energy — are just waiting to be told.\u003c/p>\n",
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"innerHTML": "\n\u003cp>‘\u003cem>Being Heumann’ opens in theaters Nov. 6, 2026 and begins \u003ca href=\"https://tv.apple.com/us/movie/being-heumann/umc.cmc.5gf63v7zj97yiozkpj26lpy55\">streaming on Apple TV\u003c/a> Nov. 13.\u003c/em>\u003c/p>\n",
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"excerpt": "Siân Heder’s biopic about disability activist Judy Heumann and the Section 504 Sit-In doesn’t have to embellish.",
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"headline": "‘Being Heumann’ Tells a Disability Rights Story Packed With Real-Life Drama",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">Early on in \u003cem>Being Heumann\u003c/em>, a biopic based on disability rights activist \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">Judy Heumann\u003c/a>’s 2020 \u003ca href=\"https://judithheumann.com/being-heumann/\">memoir\u003c/a>, Heumann interrogates the motives of a KGO-TV reporter. The journalist is covering the 1977 Section 504 Sit-In in San Francisco, which still holds the record for the longest sit-in of a federal building in American history.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“If people would hear this story, they’d be inspired,” the reporter says.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Inspired to do something?” Heumann counters. “Or just inspired?”\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">It’s a mic drop of a moment in a film that is full of memorable zingers. But it’s one of the few lines that jumps out of the screen to implicate not just the TV-watching audiences of 1977, but the movie-watching audiences of 2026. How will \u003cem>you\u003c/em> consume this story, Heumann asks through the avatar of actor Ruth Madeley, and what will you do with that knowledge?\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Directed and co-written by Siân Heder, who helmed the Academy Award-winning film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13901279/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">CODA\u003c/a>\u003c/em> in 2021, \u003cem>Being Heumann\u003c/em> tells the story of the 26-day occupation that led to the signing (spoiler alert) of Section 504 of the Rehabilitation Act of 1973. The long-delayed piece of legislation prohibited discrimination against people with disabilities in programs that received federal funding. In short, Section 504 established the civil rights of disabled people — rights that are now being \u003ca href=\"https://www.npr.org/2026/10/01/nx-s1-5981375/integration-mandate-disabilities-reversed-trump\">threatened by the Trump administration\u003c/a>.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">While Heumann is the central focus of the movie, \u003cem>Being Heumann\u003c/em> has a lot to say about coalition-building, the pitfalls of leadership and all the different ways people can commit to a movement. Like \u003cem>CODA\u003c/em>, it’s a film rooted in the culture it depicts, starring 12 disabled lead actors and screening with open captions.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568.jpg\" alt=\"man in suit stands on table among crowd of protesters with ASL interpreter nearby\" class=\"wp-image-13995312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0101_2000-37736568-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mark Ruffalo as Joseph Califano in ‘Being Heumann.’ (Apple TV)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The antagonist in this story is Joseph Califano (a stubborn Mark Ruffalo), the Secretary of Health, Education, and Welfare, who has inherited Section 504 and refuses to meet with or even listen to the disabled community about issuing the regulations. In the movie, a sequence of Heumann repeatedly calling Califano’s office drives home her persistence, and the stunning lack of respect the activists were up against.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">By the time we get to April 5, 1977, we’re just as fed up with this treatment as Heumann was. The occupation begins with a group of over 150 activists, including disabled people, their caretakers, interpreters and allies, taking over the fourth floor of San Francisco’s Federal Building (inaccessible at the time), and refusing to leave until Califano signs Section 504. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Some of the most interesting scenes in \u003cem>Being Heumann\u003c/em> are the nitty gritty practicalities of sustaining the occupation. People with different disabilities care for each other. The Black Panthers provide food. Committees form, lectures ensue, joints are distributed. The protesters even jury-rig an office air conditioner to refrigerate medication.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939.jpg\" alt=\"a cop stops a group of people, some in wheelchairs, outside a building\" class=\"wp-image-13995314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/Being_Heumann_Photo_0103_2000-254d3939-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Andrew Pilkington, Siena Rafter, Charlie Rush-Reese, Dylan O’Brien, Roberta Colindrez, Ruth Madeley and Madeline Delp star in ‘Being Heumann.’ (Apple TV)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Heder intermingles scenes of wheelchair races and intersectional bonding with the tactical planning that goes into maintaining the protest’s momentum. Early in the film, we learn Heumann is willing to put her own body on the line. But that tactic isn’t for everyone, fellow leader Kitty Cone argues. Madeline Delp plays Cone, an equally formidable disability rights activist, as a source of balance — and an active challenger to Heumann’s leadership style.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">There are many scenes in \u003cem>Being Heumann\u003c/em> that seem too spectacular to be true. Did deaf protesters really sign messages through the window after the phone lines were cut? Without accessible transportation, did they really ride around Washington, D.C. in a box truck with a cargo lift? Did Cone really give \u003ca href=\"https://www.youtube.com/watch?v=HQ3kcSgAX-w\">an incredible speech\u003c/a> in Civic Center at the end of the occupation? Yes, yes and yes.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Because it’s a movie filled with fun costumes, big set pieces and a 1970s soundtrack, we expect embellishment for the sake of storytelling. But as photographs from the sit-in plainly show during the end credits, \u003cem>Being Heumann\u003c/em>’s biggest moments are entirely true. Alternately infuriating, moving, informative and galvanizing, \u003cem>Being Heumann\u003c/em> shows how many real-life stories — packed with drama, humor and righteous energy — are just waiting to be told.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003cem>Being Heumann’ opens in theaters Nov. 6, 2026 and begins \u003ca href=\"https://tv.apple.com/us/movie/being-heumann/umc.cmc.5gf63v7zj97yiozkpj26lpy55\">streaming on Apple TV\u003c/a> Nov. 13.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "beaver-bauer-costume-designer-san-francisco-library-exhibition",
"title": "Meet the Designer Who Shaped San Francisco’s Eye-Popping History of Radical Theater",
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"content": "\n\u003cp class=\"wp-block-paragraph\">Debra “Beaver” Bauer had never really considered exhibiting her work as a costume designer. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“I’ve just always been so busy,” she says. “I just have always gone from one thing to the next, like we freelancers do.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For Bauer, there was also the issue of humility, and a tendency to subsume her own ego into a collective craft, picked up from her time as a member of the Angels of Light. Bauer joined \u003ca href=\"https://www.kqed.org/arts/110836/stage_left_salutes_the_risky_daring_of_local_theater_artists\">the radical theater troupe\u003c/a> in San Francisco in 1970, and for the next 14 years put on gender-bending, spectacular productions in parks, community centers and the streets — anywhere the public could see them for free. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Those early years, full of resourceful costume-making and intense collaboration, prepared Bauer for a long and fruitful career backstage with Bay Area theater companies. In the decades since, she’s worked with \u003ca href=\"https://www.kqed.org/arts/tag/act\">A.C.T.\u003c/a>, San José’s American Musical Theater, Teatro ZinZanni and ice skater Brian Boitano, among many others.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">“I’m better at fantasy than I am at reality, but I’ve done every kind of show,” Bauer, now 76, says. “I’ve done Sam Shepard, I’ve done a lot of Shakespeare, but I try to bring a little ‘Angel’ into all of it.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">The exhibition is also one of the first to open as part of the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a>, a slate of over 100 exhibitions and events that tell a broader, deeper story of Northern California’s artistic past and present. The triennial officially launches in March 2027.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1808\" height=\"1552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-1536x1319.jpg 1536w\" sizes=\"auto, (max-width: 1808px) 100vw, 1808px\" />\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71. (Courtesy of Beaver Bauer)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Living outside ‘the money system’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“He was like a sun,” Bauer says, “like, in terms of people he could pull into his orbit, because he was just so amazing looking.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg\" alt=\"\" class=\"wp-image-13995046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer poses for a portrait with a doll named ‘Her’ that she made for a friend. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Invention and imagination\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Making something out of nothing is a trademark of Bauer’s work. In an image from the 1978 Angels of Light production \u003cem>Sci-Clones\u003c/em>, Bauer and Jessica Copen wear diaphanous garments made of shower curtains, their sparkly headpieces covered in glitter-encrusted stemware. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">A 1985 \u003cem>San Francisco Chronicle\u003c/em> profile called Bauer “the hottest costume designer in the Bay Area,” reveling in the paradox of how someone so good at reflecting and parodying high-end fashion could be living on such a meager budget.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1424\" height=\"2000\" data-id=\"13995261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg\" alt=\"two performers in see-through robes with headdresses made of stemware\" class=\"wp-image-13995261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-768x1079.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-1094x1536.jpg 1094w\" sizes=\"auto, (max-width: 1424px) 100vw, 1424px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer and Jessica Copen in the Angels of Light production ‘Sci-Clones,’ 1978. (Photo by Daniel Nicoletta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" data-id=\"13995260\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg\" alt=\"three performers in red sea creature costumes\" class=\"wp-image-13995260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">D. Payomo, C. Alwyn-Parker and J. Hernandez, The Red Tipped Worms from ‘MU,’ First Voice, 2012. (Photo by Mark Shinegaga)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">Beaver Bauer: From Street to Stage\u003c/a>’ is on view at the Jewett Gallery in the San Francisco Public Library (100 Larkin St.) from Nov. 5, 2026–April 11, 2027.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I’ve just always been so busy,” she says. “I just have always gone from one thing to the next, like we freelancers do.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>For Bauer, there was also the issue of humility, and a tendency to subsume her own ego into a collective craft, picked up from her time as a member of the Angels of Light. Bauer joined \u003ca href=\"https://www.kqed.org/arts/110836/stage_left_salutes_the_risky_daring_of_local_theater_artists\">the radical theater troupe\u003c/a> in San Francisco in 1970, and for the next 14 years put on gender-bending, spectacular productions in parks, community centers and the streets — anywhere the public could see them for free. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Those early years, full of resourceful costume-making and intense collaboration, prepared Bauer for a long and fruitful career backstage with Bay Area theater companies. In the decades since, she’s worked with \u003ca href=\"https://www.kqed.org/arts/tag/act\">A.C.T.\u003c/a>, San José’s American Musical Theater, Teatro ZinZanni and ice skater Brian Boitano, among many others.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home.\u003ccite class=\"wp-inline-image-credit\"> (Miles Cull/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home.\u003ccite class=\"wp-inline-image-credit\"> (Miles Cull/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“I’m better at fantasy than I am at reality, but I’ve done every kind of show,” Bauer, now 76, says. “I’ve done Sam Shepard, I’ve done a lot of Shakespeare, but I try to bring a little ‘Angel’ into all of it.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n",
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"\n\u003cp>Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The exhibition is also one of the first to open as part of the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a>, a slate of over 100 exhibitions and events that tell a broader, deeper story of Northern California’s artistic past and present. The triennial officially launches in March 2027.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n",
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"\n\u003cp>For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n",
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"\n\u003cp>Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n",
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"\n\u003cp>“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-1536x1319.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Beaver Bauer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\"/>\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Beaver Bauer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n",
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"\n\u003cp>Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n",
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"\n\u003cp>Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“He was like a sun,” Bauer says, “like, in terms of people he could pull into his orbit, because he was just so amazing looking.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n",
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"\n\u003cp>Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n",
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"\n\u003cp>The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n",
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"\n\u003cp>The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg\" alt=\"\" class=\"wp-image-13995046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer poses for a portrait with a doll named ‘Her’ that she made for a friend.\u003ccite class=\"wp-inline-image-credit\"> (Miles Cull/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n",
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"\n\u003cp>Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n",
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"\n\u003cp>“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Making something out of nothing is a trademark of Bauer’s work. In an image from the 1978 Angels of Light production \u003cem>Sci-Clones\u003c/em>, Bauer and Jessica Copen wear diaphanous garments made of shower curtains, their sparkly headpieces covered in glitter-encrusted stemware. \u003c/p>\n",
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"innerHTML": "\n\u003cp>A 1985 \u003cem>San Francisco Chronicle\u003c/em> profile called Bauer “the hottest costume designer in the Bay Area,” reveling in the paradox of how someone so good at reflecting and parodying high-end fashion could be living on such a meager budget.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n",
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"\n\u003cp>Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg\" alt=\"two performers in see-through robes with headdresses made of stemware\" class=\"wp-image-13995261\"/>\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer and Jessica Copen in the Angels of Light production ‘Sci-Clones,’ 1978.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg\" alt=\"three performers in red sea creature costumes\" class=\"wp-image-13995260\"/>\u003cfigcaption class=\"wp-element-caption\">D. Payomo, C. Alwyn-Parker and J. Hernandez, The Red Tipped Worms from ‘MU,’ First Voice, 2012.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n",
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"\n\u003cp>Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n",
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"\n\u003cp>Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n",
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"\n\u003cp>It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n",
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"\n\u003cp>“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n",
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"\n\u003cp>“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n"
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"innerHTML": "\n\u003cp>‘\u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">Beaver Bauer: From Street to Stage\u003c/a>’ is on view at the Jewett Gallery in the San Francisco Public Library (100 Larkin St.) from Nov. 5, 2026–April 11, 2027.\u003c/em>\u003c/p>\n",
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"excerpt": "Beaver Bauer, who got her start in SF theater with the Angels of Light, is the focus of a new exhibition.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">Debra “Beaver” Bauer had never really considered exhibiting her work as a costume designer. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“I’ve just always been so busy,” she says. “I just have always gone from one thing to the next, like we freelancers do.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For Bauer, there was also the issue of humility, and a tendency to subsume her own ego into a collective craft, picked up from her time as a member of the Angels of Light. Bauer joined \u003ca href=\"https://www.kqed.org/arts/110836/stage_left_salutes_the_risky_daring_of_local_theater_artists\">the radical theater troupe\u003c/a> in San Francisco in 1970, and for the next 14 years put on gender-bending, spectacular productions in parks, community centers and the streets — anywhere the public could see them for free. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Those early years, full of resourceful costume-making and intense collaboration, prepared Bauer for a long and fruitful career backstage with Bay Area theater companies. In the decades since, she’s worked with \u003ca href=\"https://www.kqed.org/arts/tag/act\">A.C.T.\u003c/a>, San José’s American Musical Theater, Teatro ZinZanni and ice skater Brian Boitano, among many others.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg\" alt=\"\" class=\"wp-image-13995045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-07-MC-KQED-01d6499f-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer’s sketches line the walls of her San Francisco home. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">“I’m better at fantasy than I am at reality, but I’ve done every kind of show,” Bauer, now 76, says. “I’ve done Sam Shepard, I’ve done a lot of Shakespeare, but I try to bring a little ‘Angel’ into all of it.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Evidence of all this creative work will soon be on display in \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">From Street to Stage\u003c/a>\u003c/em>, a retrospective exhibition opening Nov. 5 in the San Francisco Public Library’s Jewett Gallery. Co-curated by Mark Johnson, Trisha Lagaso Goldberg and Theo B. Lau, the show includes full costumes, elaborate headdresses, Bauer’s design sketches, and photos and videos from various productions. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">The exhibition is also one of the first to open as part of the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a>, a slate of over 100 exhibitions and events that tell a broader, deeper story of Northern California’s artistic past and present. The triennial officially launches in March 2027.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">For fans of Bauer’s work, and for Johnson as a curator, it’s important to see the craft of costume design honored as an art form — specifically a regional one. “This is a tribute to this experimental theater that crosses the line between visual art and classical theater,” Johnson says. “It’s one of the great legacies of San Francisco’s cultural heritage.” \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most crucial to Bauer is that the exhibition is free to visit. She wants anyone who wanders in to know they too can dress up, just as she did as a young person in 1970s San Francisco.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“When you put something on that maybe you usually wouldn’t wear,” she says, “chances are you might discover or free something in yourself that you didn’t know was hiding in there.”\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1808\" height=\"1552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg\" alt=\"two young people in robes dance barefoot in front of crowd\" class=\"wp-image-13995259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817.jpg 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/beaver-rod-7018e817-1536x1319.jpg 1536w\" sizes=\"auto, (max-width: 1808px) 100vw, 1808px\" />\u003cfigcaption class=\"wp-element-caption\">Rodney Price and Beaver Bauer at San Francisco’s Civic Center in 1970 or ’71. (Courtesy of Beaver Bauer)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Living outside ‘the money system’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Born in Ohio, Bauer felt herself pulled west from an early age. When she met Rodney Price, another future Angel, at Woodstock (“God, it’s such a movie script sometimes,” she says), the two decided to head to San Francisco. Price took a plane; Bauer rode a hippie school bus and hitchhiked her way across the country.\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">Once in the city, she encountered Hibiscus, founder of \u003ca href=\"https://www.kqed.org/arts/13910612/the-cockettes-san-francisco-public-library-fayette-hauser-scrumbly\">the Cockettes\u003c/a> and its offshoot, the Angels of Light, in all his bearded, be-robed glory.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“He was like a sun,” Bauer says, “like, in terms of people he could pull into his orbit, because he was just so amazing looking.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Bauer describes spending hours getting ready to go to the thrift store, or simply to walk down the street. “Anywhere we could get people to look at us was satisfying to us,” she says. “It was like trying on personalities for a day.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The Angels lived together in San Francisco as part of the Free Food Family — a network of communal houses that pooled resources to offer up food, newsletters, medical care and adamantly free theater. “We believed in this principle of trying to avoid as much as possible the money system of the United States of America,” Bauer says.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The group performed together until 1984. “We lost like 75% of the men during AIDS,” Bauer says. Hibiscus died in 1982 at the age of 32; Rodney Price died in 1988.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg\" alt=\"\" class=\"wp-image-13995046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/101926-BEAVERBAUERATSFPL-09-MC-KQED-60cc3a50-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer poses for a portrait with a doll named ‘Her’ that she made for a friend. (Miles Cull/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Just outside the Jewett Gallery, Bauer has designed a wall to memorialize the late members of the Angels of Light, their photographs framed by lockets hanging from a drawing of a willow tree. Bauer identifies with the willow’s flexibility.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We are resilient people after making it through the AIDS crisis, making it through all we have, my friends and I, through our lives,” she says. “We have been able to live on next to nothing.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Invention and imagination\u003c/strong>\u003c/h2>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Making something out of nothing is a trademark of Bauer’s work. In an image from the 1978 Angels of Light production \u003cem>Sci-Clones\u003c/em>, Bauer and Jessica Copen wear diaphanous garments made of shower curtains, their sparkly headpieces covered in glitter-encrusted stemware. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">A 1985 \u003cem>San Francisco Chronicle\u003c/em> profile called Bauer “the hottest costume designer in the Bay Area,” reveling in the paradox of how someone so good at reflecting and parodying high-end fashion could be living on such a meager budget.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Johnson says the countercultural roots of Bauer’s work are never far away, even in her designs for more mainstream productions. “She has brought that same kind of extravagant generosity to her work for all these other companies,” he says. Part of that generosity is her time, and her ability to truly see the person in front of her and make a costume that works for them.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1424\" height=\"2000\" data-id=\"13995261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg\" alt=\"two performers in see-through robes with headdresses made of stemware\" class=\"wp-image-13995261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-768x1079.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/lead-beaver_2000-5cd05ad5-1094x1536.jpg 1094w\" sizes=\"auto, (max-width: 1424px) 100vw, 1424px\" />\u003cfigcaption class=\"wp-element-caption\">Beaver Bauer and Jessica Copen in the Angels of Light production ‘Sci-Clones,’ 1978. (Photo by Daniel Nicoletta)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"2000\" data-id=\"13995260\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg\" alt=\"three performers in red sea creature costumes\" class=\"wp-image-13995260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/11/dalmacio-celine-joseph_2000-d258d17f-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">D. Payomo, C. Alwyn-Parker and J. Hernandez, The Red Tipped Worms from ‘MU,’ First Voice, 2012. (Photo by Mark Shinegaga)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Costume-fitting is one of Bauer’s favorite parts of the process. She loves watching an actor transform into their character. “You have this time with this person where you can kind of sink into their head a little bit,” she says of the fitting room. “Can we take this to the level that will be perfect for this particular person, like \u003cem>their\u003c/em> Masha in \u003cem>Three Sisters\u003c/em> and not somebody else’s? And that relationship has always been a particular delight to me.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Most of Bauer’s costumes are witty, maximalist concoctions. Several process boards in the exhibition demonstrate how she pulls from vastly disparate inspirations to create a single costume. For an iconic look from Brenda Wong Aoki and Mark Izu’s \u003cem>\u003ca href=\"https://cargocollective.com/aokizu/MU\">MU\u003c/a>\u003c/em>, for example, Bauer cited red-tipped sea worms, Motown group the Supremes and wedding kimonos. Always materially inventive, Bauer made a seahorse costume in that same production with the help of red boba straws.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">It’s difficult, Johnson and Bauer both admit, to present the physicality of theater in a static exhibition. But Bauer has encouraged her friends to come to the Nov. 5 opening dressed in their finest. “I deeply, deeply desire to have something kinetic,” she says. (To that end, a parade will mark the exhibition’s closing in April 2027.)\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“My hope with this show is to stimulate people’s imagination, to reinvest people in theater,” Bauer says, calling the \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">trend of local theater closures\u003c/a> “alarming.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“But what’s better than seeing somebody up there moving?” she adds. “I just want to say ‘Hey, everybody, look at this valuable art form. And let’s go see a show.’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">‘\u003cem>\u003ca href=\"https://sfpl.org/exhibits/2026/11/05/street-stage-beaver-bauer\">Beaver Bauer: From Street to Stage\u003c/a>’ is on view at the Jewett Gallery in the San Francisco Public Library (100 Larkin St.) from Nov. 5, 2026–April 11, 2027.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Crucible, West Oakland’s Industrial Arts Hub, Shuts Down Suddenly",
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"content": "\n\u003cp class=\"wp-block-paragraph\">Students, staff and faculty at \u003ca href=\"https://www.thecrucible.org/\">The Crucible\u003c/a> are in limbo after the sudden closure of the 27-year-old West Oakland industrial arts organization over the weekend. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Interim Executive Director Doug Yeiser sent emails to employees the afternoon of Saturday, Oct. 24, stating that the center would be temporarily closed due to “serious financial circumstances.” The email did not include a reopening date.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We know this news is hard to receive, and we are deeply grateful for everything you bring to The Crucible,” Yeiser wrote. “Our commitment is to be straightforward and to keep you informed as decisions are made.”\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">Yeiser confirmed in a phone call with KQED that no staff is currently working at The Crucible, including him. The nonprofit’s board of directors will meet Monday and Tuesday evening to discuss next steps. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Current students, who are taking classes in blacksmithing, enameling, glassblowing, welding, among other industrial arts, received even less information about the closure: “All classes and events are canceled until further notice. Thank you.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“A lot of people have their artwork here. We have people who are working on their art theses here,” said Olivia Hara, The Crucible’s development manager. “They just closed everything without letting us know anything about if we’re going to be open again or when we can come and get our stuff.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Employees were particularly worried, Hara said, about The Crucible’s beloved shop cat, Nopal. (Hara said that Nopal will go home with an employee.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13995093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a.jpg\" alt=\"\" class=\"wp-image-13995093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The office door at The Crucible after Saturday’s email announcing the closure. (Olivia Hara)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1125\" height=\"2000\" data-id=\"13995092\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4.jpg\" alt=\"\" class=\"wp-image-13995092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4-864x1536.jpg 864w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\" />\u003cfigcaption class=\"wp-element-caption\">Nopal, The Crucible shop cat. (Olivia Hara)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The closure comes amid collective bargaining on behalf of faculty and staff, who unionized in early 2026 as \u003ca href=\"https://www.instagram.com/dedicated.cru/\">The Dedicated Cru\u003c/a>, part of the American Federation of State, County and Municipal Employees (AFSCME) Council 57. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In part, the union was formed in response to The Crucible’s ongoing financial hardship. As reported by Oaklandside, the nonprofit was listed as “\u003ca href=\"https://oaklandside.org/2024/07/23/the-crucible-west-oakland-financial-issues/\">delinquent\u003c/a>” in 2024 for not filing necessary paperwork with the state. Current and former employees worried The Crucible wouldn’t survive another year. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">By 2025, that particular matter had been resolved, but \u003ca href=\"https://oaklandside.org/2025/05/20/the-crucible-west-oakland-unionizing/\">employees told Oaklandside\u003c/a> that extreme budget cuts and slim staffing had created unsafe working conditions. Yeiser came on as interim executive director shortly after the unionization announcement in May 2025. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">This summer, Hara said, Yeiser announced there would need to be further layoffs. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“The union staff, committed to The Crucible’s long-term sustainability, has repeatedly offered concrete solutions for a roadmap to financial security — including staffing reductions at all levels of the organization, reductions in reliance on external contractors, and improved efficiencies within the physical warehouse,” the unionized employees wrote in a \u003ca href=\"https://docs.google.com/document/d/1WCESIJwp5gQuttBnp4w2_L97FbHHgvtfQRICqaGAWpg/edit?tab=t.0\">press release\u003c/a> on Monday. “All suggestions by the union staff to date have been ignored, or rebuffed by management and the Board.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The union’s press release goes on to cite over $1.5 million in grants that The Crucible had recently received from philanthropic organizations. Just last week, Yeiser was part of a tour of four Bay Area nonprofit arts centers that had recently received $100,000 each from the \u003ca href=\"https://craftcatalyst.centerforcraft.org/\">Craft Catalyst Initiative\u003c/a> in partnership with Etsy. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Now, a sign taped to The Crucible office door reads, “Classes and events cancelled.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Hara emphasized that the community of artists continues to bear the brunt of The Crucible’s financial ups and downs. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“This is another art school that’s closing in the Bay Area, and I just don’t understand it,” she said, referring to the recent closure of the San Francisco Art Institute and the upcoming closure of California College of the Arts. “San Francisco used to be known as such a cultural epicenter.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Yeiser confirmed in a phone call with KQED that no staff is currently working at The Crucible, including him. The nonprofit’s board of directors will meet Monday and Tuesday evening to discuss next steps. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Current students, who are taking classes in blacksmithing, enameling, glassblowing, welding, among other industrial arts, received even less information about the closure: “All classes and events are canceled until further notice. Thank you.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“A lot of people have their artwork here. We have people who are working on their art theses here,” said Olivia Hara, The Crucible’s development manager. “They just closed everything without letting us know anything about if we’re going to be open again or when we can come and get our stuff.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The closure comes amid collective bargaining on behalf of faculty and staff, who unionized in early 2026 as \u003ca href=\"https://www.instagram.com/dedicated.cru/\">The Dedicated Cru\u003c/a>, part of the American Federation of State, County and Municipal Employees (AFSCME) Council 57. \u003c/p>\n",
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"innerHTML": "\n\u003cp>In part, the union was formed in response to The Crucible’s ongoing financial hardship. As reported by Oaklandside, the nonprofit was listed as “\u003ca href=\"https://oaklandside.org/2024/07/23/the-crucible-west-oakland-financial-issues/\">delinquent\u003c/a>” in 2024 for not filing necessary paperwork with the state. Current and former employees worried The Crucible wouldn’t survive another year. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“The union staff, committed to The Crucible’s long-term sustainability, has repeatedly offered concrete solutions for a roadmap to financial security — including staffing reductions at all levels of the organization, reductions in reliance on external contractors, and improved efficiencies within the physical warehouse,” the unionized employees wrote in a \u003ca href=\"https://docs.google.com/document/d/1WCESIJwp5gQuttBnp4w2_L97FbHHgvtfQRICqaGAWpg/edit?tab=t.0\">press release\u003c/a> on Monday. “All suggestions by the union staff to date have been ignored, or rebuffed by management and the Board.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The union’s press release goes on to cite over $1.5 million in grants that The Crucible had recently received from philanthropic organizations. Just last week, Yeiser was part of a tour of four Bay Area nonprofit arts centers that had recently received $100,000 each from the \u003ca href=\"https://craftcatalyst.centerforcraft.org/\">Craft Catalyst Initiative\u003c/a> in partnership with Etsy. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Hara emphasized that the community of artists continues to bear the brunt of The Crucible’s financial ups and downs. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“This is another art school that’s closing in the Bay Area, and I just don’t understand it,” she said, referring to the recent closure of the San Francisco Art Institute and the upcoming closure of California College of the Arts. “San Francisco used to be known as such a cultural epicenter.”\u003c/p>\n",
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"excerpt": "Over 150 staff and faculty were told to stop working due to ‘serious financial circumstances.’",
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"title": "The Crucible, West Oakland’s Industrial Arts Hub, Shuts Down Suddenly | KQED",
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"headline": "The Crucible, West Oakland’s Industrial Arts Hub, Shuts Down Suddenly",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">Students, staff and faculty at \u003ca href=\"https://www.thecrucible.org/\">The Crucible\u003c/a> are in limbo after the sudden closure of the 27-year-old West Oakland industrial arts organization over the weekend. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Interim Executive Director Doug Yeiser sent emails to employees the afternoon of Saturday, Oct. 24, stating that the center would be temporarily closed due to “serious financial circumstances.” The email did not include a reopening date.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We know this news is hard to receive, and we are deeply grateful for everything you bring to The Crucible,” Yeiser wrote. “Our commitment is to be straightforward and to keep you informed as decisions are made.”\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">Yeiser confirmed in a phone call with KQED that no staff is currently working at The Crucible, including him. The nonprofit’s board of directors will meet Monday and Tuesday evening to discuss next steps. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Current students, who are taking classes in blacksmithing, enameling, glassblowing, welding, among other industrial arts, received even less information about the closure: “All classes and events are canceled until further notice. Thank you.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“A lot of people have their artwork here. We have people who are working on their art theses here,” said Olivia Hara, The Crucible’s development manager. “They just closed everything without letting us know anything about if we’re going to be open again or when we can come and get our stuff.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Employees were particularly worried, Hara said, about The Crucible’s beloved shop cat, Nopal. (Hara said that Nopal will go home with an employee.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" data-id=\"13995093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a.jpg\" alt=\"\" class=\"wp-image-13995093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Door_2000-b679e06a-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The office door at The Crucible after Saturday’s email announcing the closure. (Olivia Hara)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1125\" height=\"2000\" data-id=\"13995092\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4.jpg\" alt=\"\" class=\"wp-image-13995092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/Nopal_2000-5fe76ae4-864x1536.jpg 864w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\" />\u003cfigcaption class=\"wp-element-caption\">Nopal, The Crucible shop cat. (Olivia Hara)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The closure comes amid collective bargaining on behalf of faculty and staff, who unionized in early 2026 as \u003ca href=\"https://www.instagram.com/dedicated.cru/\">The Dedicated Cru\u003c/a>, part of the American Federation of State, County and Municipal Employees (AFSCME) Council 57. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In part, the union was formed in response to The Crucible’s ongoing financial hardship. As reported by Oaklandside, the nonprofit was listed as “\u003ca href=\"https://oaklandside.org/2024/07/23/the-crucible-west-oakland-financial-issues/\">delinquent\u003c/a>” in 2024 for not filing necessary paperwork with the state. Current and former employees worried The Crucible wouldn’t survive another year. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">By 2025, that particular matter had been resolved, but \u003ca href=\"https://oaklandside.org/2025/05/20/the-crucible-west-oakland-unionizing/\">employees told Oaklandside\u003c/a> that extreme budget cuts and slim staffing had created unsafe working conditions. Yeiser came on as interim executive director shortly after the unionization announcement in May 2025. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">This summer, Hara said, Yeiser announced there would need to be further layoffs. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“The union staff, committed to The Crucible’s long-term sustainability, has repeatedly offered concrete solutions for a roadmap to financial security — including staffing reductions at all levels of the organization, reductions in reliance on external contractors, and improved efficiencies within the physical warehouse,” the unionized employees wrote in a \u003ca href=\"https://docs.google.com/document/d/1WCESIJwp5gQuttBnp4w2_L97FbHHgvtfQRICqaGAWpg/edit?tab=t.0\">press release\u003c/a> on Monday. “All suggestions by the union staff to date have been ignored, or rebuffed by management and the Board.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">The union’s press release goes on to cite over $1.5 million in grants that The Crucible had recently received from philanthropic organizations. Just last week, Yeiser was part of a tour of four Bay Area nonprofit arts centers that had recently received $100,000 each from the \u003ca href=\"https://craftcatalyst.centerforcraft.org/\">Craft Catalyst Initiative\u003c/a> in partnership with Etsy. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Now, a sign taped to The Crucible office door reads, “Classes and events cancelled.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Hara emphasized that the community of artists continues to bear the brunt of The Crucible’s financial ups and downs. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“This is another art school that’s closing in the Bay Area, and I just don’t understand it,” she said, referring to the recent closure of the San Francisco Art Institute and the upcoming closure of California College of the Arts. “San Francisco used to be known as such a cultural epicenter.”\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "syd-mead-future-pastime-transamerica-pyramid",
"title": "A Futurist’s Detailed Paintings Get a Futuristic Display",
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"content": "\n\u003cp class=\"wp-block-paragraph\">Even at 54, the \u003ca href=\"https://transamericapyramid.com/\">Transamerica Pyramid\u003c/a> manages to look futuristic, probably because no other building in the San Francisco skyline has ever dared to be as weird. With its steep angles, pointy shoulders and graceful, leggy base, it remains wholly singular. What if the skyscrapers that grew up around it had dared to carve out their own silhouettes — or any sort of interesting shape at all?\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Alas, the present does not, in many ways, live up to past visions of the future. The 21st century was supposed to be sleeker, more harmonious and decidedly spacier. And for much of that expectation, we have one man to thank: designer \u003ca href=\"https://www.sydmead.com/\">Syd Mead\u003c/a>, who crafted some of the most indelible images of what was to come.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257.jpg\" alt=\"\" class=\"wp-image-13995010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Syd Mead: Future Pastime’ at the Transamerica Pyramic Annex Gallery. (Courtesy of Vidoun)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">In a perfect merger of art and setting, 16 of Mead’s gouache paintings are now on view in \u003cem>\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Future Pastime\u003c/a>\u003c/em>, an exhibition in the glass-walled annex gallery at the base of the Transamerica Pyramid. Mead, who died in 2019, worked across industries, designing cars, catalogs and architectural interiors and exteriors, but he’s best known for the technology and worldbuilding he cooked up for films like the first \u003cem>Star Trek\u003c/em> movie, \u003cem>TRON\u003c/em> and \u003cem>Blade Runner\u003c/em>. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In \u003cem>Future Pastime\u003c/em> we see none of Mead’s cinematic concept art, but plenty of ornate pageantry, speeding vehicles and future space settlements. His pieces are humble in scale but epic in conception. Mead didn’t just imagine how a personal gyroscope might look, but what sort of world would exist around it, down to how doorways might change to fit the shape of a beetle-like backpack. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1980\" height=\"1320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549.jpg\" alt=\"two futuristic vehicles in blue space with plenty of reflections\" class=\"wp-image-13995012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549.jpg 1980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1980px) 100vw, 1980px\" />\u003cfigcaption class=\"wp-element-caption\">Syd Mead, ‘Mobilage,’ 1985; Gouache on board. (Courtesy of Vidoun)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Mead’s future is sexy and optimistic. Most of the pieces in \u003cem>Future Pastime\u003c/em> depict a society at leisure: people watch races (of horses, boats, cars and giant greyhound-like robots); they party; they travel through space alongside intergalactic whales. Industry has moved to the moon to give Earth time to recover.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Part of what makes Mead’s images so appealing is their realism; he had an incredible ability to render reflective surfaces. He deployed delicate brushstrokes with the technical precision of an industrial designer, but lit his scenes like Maxfield Parrish paintings, soft oranges matched with purples, or steely gray-blues punctuated by zings of intense crimson. His wispy fabrics, draped across lots of nude bodies, are just as convincing as the shiny cars, vans and motorcycles he dreamed up.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Futuristic machines are nearly always at the center of his paintings — many of the works on view were commissions from companies or events in the automotive industry. But what’s refreshing is just how \u003cem>Syd Mead\u003c/em> in style and content the images all are, regardless of who was paying for them.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390.jpg\" alt=\"three framed gouache paintings on gray wall under concrete structure\" class=\"wp-image-13995014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Installation view of a commission for the Concours d’Elegance by Syd Mead, ‘Pebble Beach (Triptych),’ 2000; Gouache on board. (Courtesy of Vidoun)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">At the annex gallery, curators Elon Solo and William Corman present the show with care, giving plenty of room between Mead’s dense scenes to let ideas spread in the space between frames. Most of the show hangs on temporary walls that echo the zig-zag windows of the annex. The exhibition, designed by architecture firm MAD, is spare and orderly, the walls backed by silvery sheets of what looks like aluminum. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Many of the futuristic objects Mead depicted have come into being in the decades since: handheld computers, self-driving cars, personal unicycles. But to me, the most interesting parts of Mead’s futures are often the backgrounds — the large-scale, super-imaginative infrastructure that we haven’t yet realized. Mead’s work is a reminder that a better future isn’t just flashy gadgets; it’s a radical restructuring of the way we live, eat, work and play.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">\u003cem>‘\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Syd Mead: Future Pastime\u003c/a>’ is on view at the Transamerica Pyramid Annex Gallery (535 Washington St., San Francisco) through Dec. 17, 2026.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257.jpg\" alt=\"\" class=\"wp-image-13995010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Syd Mead: Future Pastime’ at the Transamerica Pyramic Annex Gallery.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Vidoun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>In a perfect merger of art and setting, 16 of Mead’s gouache paintings are now on view in \u003cem>\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Future Pastime\u003c/a>\u003c/em>, an exhibition in the glass-walled annex gallery at the base of the Transamerica Pyramid. Mead, who died in 2019, worked across industries, designing cars, catalogs and architectural interiors and exteriors, but he’s best known for the technology and worldbuilding he cooked up for films like the first \u003cem>Star Trek\u003c/em> movie, \u003cem>TRON\u003c/em> and \u003cem>Blade Runner\u003c/em>. \u003c/p>\n",
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"\n\u003cp>In a perfect merger of art and setting, 16 of Mead’s gouache paintings are now on view in \u003cem>\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Future Pastime\u003c/a>\u003c/em>, an exhibition in the glass-walled annex gallery at the base of the Transamerica Pyramid. Mead, who died in 2019, worked across industries, designing cars, catalogs and architectural interiors and exteriors, but he’s best known for the technology and worldbuilding he cooked up for films like the first \u003cem>Star Trek\u003c/em> movie, \u003cem>TRON\u003c/em> and \u003cem>Blade Runner\u003c/em>. \u003c/p>\n"
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"innerHTML": "\n\u003cp>In \u003cem>Future Pastime\u003c/em> we see none of Mead’s cinematic concept art, but plenty of ornate pageantry, speeding vehicles and future space settlements. His pieces are humble in scale but epic in conception. Mead didn’t just imagine how a personal gyroscope might look, but what sort of world would exist around it, down to how doorways might change to fit the shape of a beetle-like backpack. \u003c/p>\n",
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"\n\u003cp>In \u003cem>Future Pastime\u003c/em> we see none of Mead’s cinematic concept art, but plenty of ornate pageantry, speeding vehicles and future space settlements. His pieces are humble in scale but epic in conception. Mead didn’t just imagine how a personal gyroscope might look, but what sort of world would exist around it, down to how doorways might change to fit the shape of a beetle-like backpack. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Mead’s future is sexy and optimistic. Most of the pieces in \u003cem>Future Pastime\u003c/em> depict a society at leisure: people watch races (of horses, boats, cars and giant greyhound-like robots); they party; they travel through space alongside intergalactic whales. Industry has moved to the moon to give Earth time to recover.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Part of what makes Mead’s images so appealing is their realism; he had an incredible ability to render reflective surfaces. He deployed delicate brushstrokes with the technical precision of an industrial designer, but lit his scenes like Maxfield Parrish paintings, soft oranges matched with purples, or steely gray-blues punctuated by zings of intense crimson. His wispy fabrics, draped across lots of nude bodies, are just as convincing as the shiny cars, vans and motorcycles he dreamed up.\u003c/p>\n",
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"\n\u003cp>Part of what makes Mead’s images so appealing is their realism; he had an incredible ability to render reflective surfaces. He deployed delicate brushstrokes with the technical precision of an industrial designer, but lit his scenes like Maxfield Parrish paintings, soft oranges matched with purples, or steely gray-blues punctuated by zings of intense crimson. His wispy fabrics, draped across lots of nude bodies, are just as convincing as the shiny cars, vans and motorcycles he dreamed up.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Futuristic machines are nearly always at the center of his paintings — many of the works on view were commissions from companies or events in the automotive industry. But what’s refreshing is just how \u003cem>Syd Mead\u003c/em> in style and content the images all are, regardless of who was paying for them.\u003c/p>\n",
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"\n\u003cp>Futuristic machines are nearly always at the center of his paintings — many of the works on view were commissions from companies or events in the automotive industry. But what’s refreshing is just how \u003cem>Syd Mead\u003c/em> in style and content the images all are, regardless of who was paying for them.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390.jpg\" alt=\"three framed gouache paintings on gray wall under concrete structure\" class=\"wp-image-13995014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of a commission for the Concours d’Elegance by Syd Mead, ‘Pebble Beach (Triptych),’ 2000; Gouache on board. \u003ccite class=\"wp-inline-image-credit\"> (Courtesy of Vidoun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>At the annex gallery, curators Elon Solo and William Corman present the show with care, giving plenty of room between Mead’s dense scenes to let ideas spread in the space between frames. Most of the show hangs on temporary walls that echo the zig-zag windows of the annex. The exhibition, designed by architecture firm MAD, is spare and orderly, the walls backed by silvery sheets of what looks like aluminum. \u003c/p>\n",
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"\n\u003cp>At the annex gallery, curators Elon Solo and William Corman present the show with care, giving plenty of room between Mead’s dense scenes to let ideas spread in the space between frames. Most of the show hangs on temporary walls that echo the zig-zag windows of the annex. The exhibition, designed by architecture firm MAD, is spare and orderly, the walls backed by silvery sheets of what looks like aluminum. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Many of the futuristic objects Mead depicted have come into being in the decades since: handheld computers, self-driving cars, personal unicycles. But to me, the most interesting parts of Mead’s futures are often the backgrounds — the large-scale, super-imaginative infrastructure that we haven’t yet realized. Mead’s work is a reminder that a better future isn’t just flashy gadgets; it’s a radical restructuring of the way we live, eat, work and play.\u003c/p>\n",
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"\n\u003cp>Many of the futuristic objects Mead depicted have come into being in the decades since: handheld computers, self-driving cars, personal unicycles. But to me, the most interesting parts of Mead’s futures are often the backgrounds — the large-scale, super-imaginative infrastructure that we haven’t yet realized. Mead’s work is a reminder that a better future isn’t just flashy gadgets; it’s a radical restructuring of the way we live, eat, work and play.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Syd Mead: Future Pastime\u003c/a>’ is on view at the Transamerica Pyramid Annex Gallery (535 Washington St., San Francisco) through Dec. 17, 2026.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Syd Mead: Future Pastime\u003c/a>’ is on view at the Transamerica Pyramid Annex Gallery (535 Washington St., San Francisco) through Dec. 17, 2026.\u003c/em>\u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">Even at 54, the \u003ca href=\"https://transamericapyramid.com/\">Transamerica Pyramid\u003c/a> manages to look futuristic, probably because no other building in the San Francisco skyline has ever dared to be as weird. With its steep angles, pointy shoulders and graceful, leggy base, it remains wholly singular. What if the skyscrapers that grew up around it had dared to carve out their own silhouettes — or any sort of interesting shape at all?\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Alas, the present does not, in many ways, live up to past visions of the future. The 21st century was supposed to be sleeker, more harmonious and decidedly spacier. And for much of that expectation, we have one man to thank: designer \u003ca href=\"https://www.sydmead.com/\">Syd Mead\u003c/a>, who crafted some of the most indelible images of what was to come.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257.jpg\" alt=\"\" class=\"wp-image-13995010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-3_2000-51b20257-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Syd Mead: Future Pastime’ at the Transamerica Pyramic Annex Gallery. (Courtesy of Vidoun)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">In a perfect merger of art and setting, 16 of Mead’s gouache paintings are now on view in \u003cem>\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Future Pastime\u003c/a>\u003c/em>, an exhibition in the glass-walled annex gallery at the base of the Transamerica Pyramid. Mead, who died in 2019, worked across industries, designing cars, catalogs and architectural interiors and exteriors, but he’s best known for the technology and worldbuilding he cooked up for films like the first \u003cem>Star Trek\u003c/em> movie, \u003cem>TRON\u003c/em> and \u003cem>Blade Runner\u003c/em>. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In \u003cem>Future Pastime\u003c/em> we see none of Mead’s cinematic concept art, but plenty of ornate pageantry, speeding vehicles and future space settlements. His pieces are humble in scale but epic in conception. Mead didn’t just imagine how a personal gyroscope might look, but what sort of world would exist around it, down to how doorways might change to fit the shape of a beetle-like backpack. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1980\" height=\"1320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549.jpg\" alt=\"two futuristic vehicles in blue space with plenty of reflections\" class=\"wp-image-13995012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549.jpg 1980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/6-Future-Pastime-Mobilage-dfca5549-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1980px) 100vw, 1980px\" />\u003cfigcaption class=\"wp-element-caption\">Syd Mead, ‘Mobilage,’ 1985; Gouache on board. (Courtesy of Vidoun)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">Mead’s future is sexy and optimistic. Most of the pieces in \u003cem>Future Pastime\u003c/em> depict a society at leisure: people watch races (of horses, boats, cars and giant greyhound-like robots); they party; they travel through space alongside intergalactic whales. Industry has moved to the moon to give Earth time to recover.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Part of what makes Mead’s images so appealing is their realism; he had an incredible ability to render reflective surfaces. He deployed delicate brushstrokes with the technical precision of an industrial designer, but lit his scenes like Maxfield Parrish paintings, soft oranges matched with purples, or steely gray-blues punctuated by zings of intense crimson. His wispy fabrics, draped across lots of nude bodies, are just as convincing as the shiny cars, vans and motorcycles he dreamed up.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Futuristic machines are nearly always at the center of his paintings — many of the works on view were commissions from companies or events in the automotive industry. But what’s refreshing is just how \u003cem>Syd Mead\u003c/em> in style and content the images all are, regardless of who was paying for them.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390.jpg\" alt=\"three framed gouache paintings on gray wall under concrete structure\" class=\"wp-image-13995014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/SYD-MEAD-FUTURE-PASTIME-SF-9_2000-29d1d390-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Installation view of a commission for the Concours d’Elegance by Syd Mead, ‘Pebble Beach (Triptych),’ 2000; Gouache on board. (Courtesy of Vidoun)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp class=\"wp-block-paragraph\">At the annex gallery, curators Elon Solo and William Corman present the show with care, giving plenty of room between Mead’s dense scenes to let ideas spread in the space between frames. Most of the show hangs on temporary walls that echo the zig-zag windows of the annex. The exhibition, designed by architecture firm MAD, is spare and orderly, the walls backed by silvery sheets of what looks like aluminum. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Many of the futuristic objects Mead depicted have come into being in the decades since: handheld computers, self-driving cars, personal unicycles. But to me, the most interesting parts of Mead’s futures are often the backgrounds — the large-scale, super-imaginative infrastructure that we haven’t yet realized. Mead’s work is a reminder that a better future isn’t just flashy gadgets; it’s a radical restructuring of the way we live, eat, work and play.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp class=\"wp-block-paragraph\">\u003cem>‘\u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Syd Mead: Future Pastime\u003c/a>’ is on view at the Transamerica Pyramid Annex Gallery (535 Washington St., San Francisco) through Dec. 17, 2026.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>How much does it cost to be an artist in San Francisco? \u003c/p>\n\n\n\n\u003cp>It isn’t too hard to calculate. First, there’s the \u003ca href=\"https://www.kqed.org/affordability\">normal expenses\u003c/a> we all rack up: food, housing, healthcare, transportation. Then there’s renting a practice space or studio, purchasing equipment and materials, hiring collaborators and more.\u003c/p>\n\n\n\n\u003cp>The stark reality of this math has shaped the relaunch of a much-needed initiative: \u003ca href=\"https://www.kqed.org/arts/tag/the-lab\">The Lab\u003c/a>’s Living Wage Residency program, which will provide three artists with $17,530 each to develop new work. \u003c/p>\n\n\n\n\n\n\u003cp>As recipients of the residency, \u003ca href=\"https://www.ammaateria.com/\">Amma Ateria\u003c/a>, \u003ca href=\"https://www.zacharyepcar.com/\">Zachary Epcar\u003c/a> and \u003ca href=\"https://www.alexachristineburrell.com/about/\">Alexa Burrell\u003c/a> will also receive curatorial and technical support, plus three months of regular access to The Lab and two weeks of exclusive use of the space for final presentations of their projects.\u003c/p>\n\n\n\n\u003cp>“We’re intending it to be something that really allows the artists to dedicate a full three months of time to their artwork,” Andrew Smith, The Lab’s executive director, told KQED. “And then we also have a very flexible $5,000 stipend for materials, or collaborators, or other expenses that we see as augmenting that base living wage amount.” \u003c/p>\n\n\n\n\u003cp>That rather funny amount of $17,530 comes directly from MIT’s \u003ca href=\"https://livingwage.mit.edu/counties/06075\">living wage calculator\u003c/a>, which estimates that a single adult without children needs to make $32.44/hour (and work full-time) to meet minimum basic needs in San Francisco. (As a point of reference, the current minimum wage in the city is just $19.61/hour.) \u003c/p>\n\n\n\n\u003cp>Keeping those calculations visible is intentional. “Our goal is to actually demonstrate that this is in response to a crisis that’s happening in the Bay Area,” Smith said. \u003c/p>\n\n\n\n\u003cp>The Living Wage Residency program first launched in 2014 under former Lab director Dena Beard, providing nontraditional artists with rare institutional support, along with significant funding, time and space. With this “relaunch” of the program, The Lab held an open call for the first time, and received over 400 applications. Funding for the residencies comes from the San Francisco Arts Commission and the National Endowment for the Arts.\u003c/p>\n\n\n\n\u003cp>The three residents represent the range of experimental practices The Lab supports, including some truly ambitious-sounding projects. Ateria, a composer, will premiere an expansion of her \u003cem>Entropic Arias\u003c/em> at The Lab on a newly installed Meyer Sound spatial audio system in January 2027. Epcar, a filmmaker, will present an expanded cinema project for June 2027 about the “\u003ca href=\"https://www.npr.org/2023/01/25/1151421770/the-curious-case-of-havana-syndrome\">Havana Syndrome\u003c/a>” experienced by U.S. intelligence agents in Cuba. And Burrell, a visual artist, will create an immersive installation scheduled for October 2027 that uses sheets of falling water as screens for projected video work. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83.jpg\" alt=\"wide empty interior space with wood floors\" class=\"wp-image-13994737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83-1536x831.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The recently expanded space of The Lab, which includes the former ballroom of the San Francisco Labor Temple. (Robert Divers Herrick)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Key to each of these projects is an expansion of scale and scope that necessitates bringing others into the mix. In that way, the residency fees are designed to ripple outward. “Each of these artists has an established and very high-level practice in a particular discipline,” Smith said, “and they’ve put forward these projects that expand that through a network of collaborators.”\u003c/p>\n\n\n\n\u003cp>Growth is a new watchword at The Lab. The nonprofit recently extended its lease in the historic Redstone Building, where \u003ca href=\"https://www.kqed.org/arts/13937804/the-lab-new-lease-redstone-building-sf-labor-temple\">renovating the neighboring ballroom\u003c/a> has added to the footprint of the venue by about 70%.\u003c/p>\n\n\n\n\u003cp>“I felt like we had to,” Smith said. “Once you lose square footage in the Bay Area, you just never get it back.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>As recipients of the residency, \u003ca href=\"https://www.ammaateria.com/\">Amma Ateria\u003c/a>, \u003ca href=\"https://www.zacharyepcar.com/\">Zachary Epcar\u003c/a> and \u003ca href=\"https://www.alexachristineburrell.com/about/\">Alexa Burrell\u003c/a> will also receive curatorial and technical support, plus three months of regular access to The Lab and two weeks of exclusive use of the space for final presentations of their projects.\u003c/p>\n",
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"innerHTML": "\n\u003cp>That rather funny amount of $17,530 comes directly from MIT’s \u003ca href=\"https://livingwage.mit.edu/counties/06075\">living wage calculator\u003c/a>, which estimates that a single adult without children needs to make $32.44/hour (and work full-time) to meet minimum basic needs in San Francisco. (As a point of reference, the current minimum wage in the city is just $19.61/hour.) \u003c/p>\n",
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"innerHTML": "\n\u003cp>Keeping those calculations visible is intentional. “Our goal is to actually demonstrate that this is in response to a crisis that’s happening in the Bay Area,” Smith said. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The Living Wage Residency program first launched in 2014 under former Lab director Dena Beard, providing nontraditional artists with rare institutional support, along with significant funding, time and space. With this “relaunch” of the program, The Lab held an open call for the first time, and received over 400 applications. Funding for the residencies comes from the San Francisco Arts Commission and the National Endowment for the Arts.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>How much does it cost to be an artist in San Francisco? \u003c/p>\n\n\n\n\u003cp>It isn’t too hard to calculate. First, there’s the \u003ca href=\"https://www.kqed.org/affordability\">normal expenses\u003c/a> we all rack up: food, housing, healthcare, transportation. Then there’s renting a practice space or studio, purchasing equipment and materials, hiring collaborators and more.\u003c/p>\n\n\n\n\u003cp>The stark reality of this math has shaped the relaunch of a much-needed initiative: \u003ca href=\"https://www.kqed.org/arts/tag/the-lab\">The Lab\u003c/a>’s Living Wage Residency program, which will provide three artists with $17,530 each to develop new work. \u003c/p>\n\n\n\n\n\n\u003cp>As recipients of the residency, \u003ca href=\"https://www.ammaateria.com/\">Amma Ateria\u003c/a>, \u003ca href=\"https://www.zacharyepcar.com/\">Zachary Epcar\u003c/a> and \u003ca href=\"https://www.alexachristineburrell.com/about/\">Alexa Burrell\u003c/a> will also receive curatorial and technical support, plus three months of regular access to The Lab and two weeks of exclusive use of the space for final presentations of their projects.\u003c/p>\n\n\n\n\u003cp>“We’re intending it to be something that really allows the artists to dedicate a full three months of time to their artwork,” Andrew Smith, The Lab’s executive director, told KQED. “And then we also have a very flexible $5,000 stipend for materials, or collaborators, or other expenses that we see as augmenting that base living wage amount.” \u003c/p>\n\n\n\n\u003cp>That rather funny amount of $17,530 comes directly from MIT’s \u003ca href=\"https://livingwage.mit.edu/counties/06075\">living wage calculator\u003c/a>, which estimates that a single adult without children needs to make $32.44/hour (and work full-time) to meet minimum basic needs in San Francisco. (As a point of reference, the current minimum wage in the city is just $19.61/hour.) \u003c/p>\n\n\n\n\u003cp>Keeping those calculations visible is intentional. “Our goal is to actually demonstrate that this is in response to a crisis that’s happening in the Bay Area,” Smith said. \u003c/p>\n\n\n\n\u003cp>The Living Wage Residency program first launched in 2014 under former Lab director Dena Beard, providing nontraditional artists with rare institutional support, along with significant funding, time and space. With this “relaunch” of the program, The Lab held an open call for the first time, and received over 400 applications. Funding for the residencies comes from the San Francisco Arts Commission and the National Endowment for the Arts.\u003c/p>\n\n\n\n\u003cp>The three residents represent the range of experimental practices The Lab supports, including some truly ambitious-sounding projects. Ateria, a composer, will premiere an expansion of her \u003cem>Entropic Arias\u003c/em> at The Lab on a newly installed Meyer Sound spatial audio system in January 2027. Epcar, a filmmaker, will present an expanded cinema project for June 2027 about the “\u003ca href=\"https://www.npr.org/2023/01/25/1151421770/the-curious-case-of-havana-syndrome\">Havana Syndrome\u003c/a>” experienced by U.S. intelligence agents in Cuba. And Burrell, a visual artist, will create an immersive installation scheduled for October 2027 that uses sheets of falling water as screens for projected video work. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83.jpg\" alt=\"wide empty interior space with wood floors\" class=\"wp-image-13994737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/250802_TheLab_Renovation_RDH_031_2000.jpg--cffaed83-1536x831.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The recently expanded space of The Lab, which includes the former ballroom of the San Francisco Labor Temple. (Robert Divers Herrick)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Key to each of these projects is an expansion of scale and scope that necessitates bringing others into the mix. In that way, the residency fees are designed to ripple outward. “Each of these artists has an established and very high-level practice in a particular discipline,” Smith said, “and they’ve put forward these projects that expand that through a network of collaborators.”\u003c/p>\n\n\n\n\u003cp>Growth is a new watchword at The Lab. The nonprofit recently extended its lease in the historic Redstone Building, where \u003ca href=\"https://www.kqed.org/arts/13937804/the-lab-new-lease-redstone-building-sf-labor-temple\">renovating the neighboring ballroom\u003c/a> has added to the footprint of the venue by about 70%.\u003c/p>\n\n\n\n\u003cp>“I felt like we had to,” Smith said. “Once you lose square footage in the Bay Area, you just never get it back.”\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Small-Town Movie Theaters Glow in This Elegiac Documentary",
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"content": "\n\u003cp>There’s a hopeful note to Rustin Thompson’s \u003cem>\u003ca href=\"https://rustinthompson.com/last-picture-shows/\">The Last Picture Shows\u003c/a>\u003c/em>, despite the numbers the documentary routinely deploys to stress the struggles of small-town \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theaters\u003c/a>. A century ago, there were 22,000 movie theaters in the U.S.; now there are fewer than 3,000. Since the pandemic, nearly 5,000 movie screens have stayed dark. Many people in “cinema deserts” live five, 10 or 50 miles from the nearest theater.\u003c/p>\n\n\n\n\u003cp>These statistics sound bleak, and many of the façades Thompson captured on an epic tour of the American West (10 states, 10,925 miles, 123 theaters) are boarded up, emptied out or converted to other businesses. But Thompson makes sure those quiet shots are countered by livelier ones. We see the electric glow of neon signs, marquees bearing the names of current-day films and the smiling faces of the people still doggedly running their single-screen and drive-in theaters for the good of their communities. \u003c/p>\n\n\n\n\u003cp>“It’s effort,” says \u003ca href=\"https://www.monteriotheater.com/\">Rio Theater\u003c/a> owner Dave Lockhart in Monte Rio, California, “but if you can make it work, it’s the best thing.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000.jpg\" alt=\"man stands in front of empty marquee on pink façade of quonset hut theater\" class=\"wp-image-13993989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Dave Lockhart stands in front of the Rio Theater in Monte Rio, California. (Foghorn Features)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cem>The Last Picture Shows\u003c/em> is guided by intermittent history lessons from Ross Melnick, a UC Santa Barbara professor of film and media studies and the author of \u003ca href=\"https://www.cinematreasures.org/book\">\u003cem>Cinema Treasures\u003c/em>\u003c/a>. Melnick sketches a timeline from vaudeville to the present day, charting the booms and busts of moviegoing against population shifts and economic hard times. \u003c/p>\n\n\n\n\u003cp>There have been previous cycles of competition between moviegoing and other media, he explains, whether that was radio, television or streaming. But a still-active downtown movie theater is proof that the arts are a central part of that town’s daily life. Alongside restaurants and retail, a vibrant downtown should have cultural offerings, Melnick argues, and those cultural offerings should be available to everyone.\u003c/p>\n\n\n\n\u003cp>Many of the theater owners Thompson interviewed echo that belief. Cody Jones, part of a community group restoring the 113-year-old \u003ca href=\"http://www.seeleytheatre.com/\">Seeley Theatre\u003c/a> in Pomeroy, Washington, estimates between 60–70% of the town’s high school graduates leave; there’s not enough jobs or culture to keep them around.\u003c/p>\n\n\n\n\u003cp>“We don’t have anything else here,” says \u003ca href=\"https://www.facebook.com/deserthistorictheatre/\">Desert Historic Theater\u003c/a> owner Mel “Tiny” Pedersen in Burns, Oregon — a town of around 2,700 people. “There’s not a bowling alley, there’s not a video game machine, there’s absolutely nothing else for high school kids or teenagers or even young adults to have a night out on the town with a date.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg\" alt=\"older white man in suspenders leans against concession stand counter\" class=\"wp-image-13993985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mel ‘Tiny’ Pedersen, owner of the Desert Historic Theater in Burns, Oregon. (Foghorn Features)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Pedersen is the first theater owner we meet in Rustin’s 78-minute film, but the challenges he faces are repeated across state lines: the movie studio bookings are too restrictive; COVID closures have shifted audience habits; everything’s so darn expensive. (A running visual gag in the documentary is the number of marquees bearing the title \u003cem>Shazam\u003c/em>.)\u003c/p>\n\n\n\n\u003cp>As might be expected, \u003cem>The Last Picture Shows\u003c/em> also includes clips from movies featuring moviegoing, including its namesake, Peter Bogdanovich’s 1971 film \u003cem>The Last Picture Show\u003c/em>, about life in a small Texas town with one movie theater. “Won’t be much to do in town once the picture show closes,” says a very young Jeff Bridges in one scene.\u003c/p>\n\n\n\n\u003cp>With clips like these, a soundtrack of spare, twangy guitar and plenty of nearly still shots of boxy theaters, Thompson’s \u003cem>The Last Picture Shows\u003c/em> can be downright melancholy at times. That is, until we meet 14-year-old \u003ca href=\"https://www.facebook.com/panguitchgem/\">Gem Theater\u003c/a> employee Maverick Albrecht, who we see working the concession stand at the Panguich, Utah theater. (Yes, he was named after \u003cem>Top Gun\u003c/em>.)\u003c/p>\n\n\n\n\u003cp>It’s important to have a place in town where you can just go and chill, Albrecht says, “like a date night little setting.” I dare any filmmaker to find a greater spokesperson for the importance of small-town movie theaters. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000.jpg\" alt=\"young white person in front of movie theater marquee\" class=\"wp-image-13993987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Maverick Albrecht, an employee of the Gem Theatre in Panguitch, Utah. (Foghorn Features)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Despite some perplexing sequences of unexplained sepia-toned images — are these theaters dearly departed, or are they just old? — \u003cem>The Last Picture Shows\u003c/em> is a dreamy journey through small towns and vast landscapes. It might even spark a few road trips of its own.\u003c/p>\n\n\n\n\u003cp>The film’s title is a nice homage, but it falsely conveys an irreversible finality, an idea that this is the last gasp of a declining business model. Overall, the film is about optimism and resilience.\u003c/p>\n\n\n\n\u003cp>In Thompson’s interview with Teresa McQuisten of the \u003ca href=\"https://www.eltrym.com/\">Eltrym Theater\u003c/a> in Baker City, Oregon, the cheery bustle of people passing through the lobby interrupts the conversation multiple times. \u003c/p>\n\n\n\n\u003cp>“It’s actually not a business that I worry about,” McQuisten says. “People always want to get together with friends outside the house.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>‘\u003ca href=\"https://rustinthompson.com/last-picture-shows/\">The Last Picture Shows\u003c/a>’ plays Sept. 20–21 at the \u003ca href=\"https://www.balboamovies.com/calendar-of-events/the-last-picture-shows-september-20\">Balboa Theater\u003c/a> (3630 Balboa St., San Francisco); Sept. 22 at \u003ca href=\"https://rialtocinemas.com/now-playing/the-last-picture-shows-seb/\">Rialto Cinemas Sebastopol\u003c/a> (6868 McKinley Ave.); Sept. 23 at \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/#last\">Rialto Cinemas Elmwood\u003c/a> (2966 College Ave., Berkeley); and Sept. 24 at \u003ca href=\"https://cinema.cafilm.org/film/the-last-picture-shows\">Smith Rafael Film Center\u003c/a> (1118 4th St., San Rafael).\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Each screening is followed by a Q&A with filmmaker Rustin Thompson.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>“It’s effort,” says \u003ca href=\"https://www.monteriotheater.com/\">Rio Theater\u003c/a> owner Dave Lockhart in Monte Rio, California, “but if you can make it work, it’s the best thing.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>The Last Picture Shows\u003c/em> is guided by intermittent history lessons from Ross Melnick, a UC Santa Barbara professor of film and media studies and the author of \u003ca href=\"https://www.cinematreasures.org/book\">\u003cem>Cinema Treasures\u003c/em>\u003c/a>. Melnick sketches a timeline from vaudeville to the present day, charting the booms and busts of moviegoing against population shifts and economic hard times. \u003c/p>\n",
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"innerHTML": "\n\u003cp>There have been previous cycles of competition between moviegoing and other media, he explains, whether that was radio, television or streaming. But a still-active downtown movie theater is proof that the arts are a central part of that town’s daily life. Alongside restaurants and retail, a vibrant downtown should have cultural offerings, Melnick argues, and those cultural offerings should be available to everyone.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Many of the theater owners Thompson interviewed echo that belief. Cody Jones, part of a community group restoring the 113-year-old \u003ca href=\"http://www.seeleytheatre.com/\">Seeley Theatre\u003c/a> in Pomeroy, Washington, estimates between 60–70% of the town’s high school graduates leave; there’s not enough jobs or culture to keep them around.\u003c/p>\n",
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"\n\u003cp>Many of the theater owners Thompson interviewed echo that belief. Cody Jones, part of a community group restoring the 113-year-old \u003ca href=\"http://www.seeleytheatre.com/\">Seeley Theatre\u003c/a> in Pomeroy, Washington, estimates between 60–70% of the town’s high school graduates leave; there’s not enough jobs or culture to keep them around.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We don’t have anything else here,” says \u003ca href=\"https://www.facebook.com/deserthistorictheatre/\">Desert Historic Theater\u003c/a> owner Mel “Tiny” Pedersen in Burns, Oregon — a town of around 2,700 people. “There’s not a bowling alley, there’s not a video game machine, there’s absolutely nothing else for high school kids or teenagers or even young adults to have a night out on the town with a date.” \u003c/p>\n",
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"\n\u003cp>“We don’t have anything else here,” says \u003ca href=\"https://www.facebook.com/deserthistorictheatre/\">Desert Historic Theater\u003c/a> owner Mel “Tiny” Pedersen in Burns, Oregon — a town of around 2,700 people. “There’s not a bowling alley, there’s not a video game machine, there’s absolutely nothing else for high school kids or teenagers or even young adults to have a night out on the town with a date.” \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg\" alt=\"older white man in suspenders leans against concession stand counter\" class=\"wp-image-13993985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-1200x675.jpg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Mel ‘Tiny’ Pedersen, owner of the Desert Historic Theater in Burns, Oregon.\u003ccite class=\"wp-inline-image-credit\"> (Foghorn Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg\" alt=\"older white man in suspenders leans against concession stand counter\" class=\"wp-image-13993985\" />\u003cfigcaption class=\"wp-element-caption\">Mel ‘Tiny’ Pedersen, owner of the Desert Historic Theater in Burns, Oregon.\u003ccite class=\"wp-inline-image-credit\"> (Foghorn Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Pedersen is the first theater owner we meet in Rustin’s 78-minute film, but the challenges he faces are repeated across state lines: the movie studio bookings are too restrictive; COVID closures have shifted audience habits; everything’s so darn expensive. (A running visual gag in the documentary is the number of marquees bearing the title \u003cem>Shazam\u003c/em>.)\u003c/p>\n",
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"\n\u003cp>Pedersen is the first theater owner we meet in Rustin’s 78-minute film, but the challenges he faces are repeated across state lines: the movie studio bookings are too restrictive; COVID closures have shifted audience habits; everything’s so darn expensive. (A running visual gag in the documentary is the number of marquees bearing the title \u003cem>Shazam\u003c/em>.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>As might be expected, \u003cem>The Last Picture Shows\u003c/em> also includes clips from movies featuring moviegoing, including its namesake, Peter Bogdanovich’s 1971 film \u003cem>The Last Picture Show\u003c/em>, about life in a small Texas town with one movie theater. “Won’t be much to do in town once the picture show closes,” says a very young Jeff Bridges in one scene.\u003c/p>\n",
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"\n\u003cp>As might be expected, \u003cem>The Last Picture Shows\u003c/em> also includes clips from movies featuring moviegoing, including its namesake, Peter Bogdanovich’s 1971 film \u003cem>The Last Picture Show\u003c/em>, about life in a small Texas town with one movie theater. “Won’t be much to do in town once the picture show closes,” says a very young Jeff Bridges in one scene.\u003c/p>\n"
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"innerHTML": "\n\u003cp>With clips like these, a soundtrack of spare, twangy guitar and plenty of nearly still shots of boxy theaters, Thompson’s \u003cem>The Last Picture Shows\u003c/em> can be downright melancholy at times. That is, until we meet 14-year-old \u003ca href=\"https://www.facebook.com/panguitchgem/\">Gem Theater\u003c/a> employee Maverick Albrecht, who we see working the concession stand at the Panguich, Utah theater. (Yes, he was named after \u003cem>Top Gun\u003c/em>.)\u003c/p>\n",
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"\n\u003cp>With clips like these, a soundtrack of spare, twangy guitar and plenty of nearly still shots of boxy theaters, Thompson’s \u003cem>The Last Picture Shows\u003c/em> can be downright melancholy at times. That is, until we meet 14-year-old \u003ca href=\"https://www.facebook.com/panguitchgem/\">Gem Theater\u003c/a> employee Maverick Albrecht, who we see working the concession stand at the Panguich, Utah theater. (Yes, he was named after \u003cem>Top Gun\u003c/em>.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s important to have a place in town where you can just go and chill, Albrecht says, “like a date night little setting.” I dare any filmmaker to find a greater spokesperson for the importance of small-town movie theaters. \u003c/p>\n",
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"\n\u003cp>It’s important to have a place in town where you can just go and chill, Albrecht says, “like a date night little setting.” I dare any filmmaker to find a greater spokesperson for the importance of small-town movie theaters. \u003c/p>\n"
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000.jpg\" alt=\"young white person in front of movie theater marquee\" class=\"wp-image-13993987\" />\u003cfigcaption class=\"wp-element-caption\">Maverick Albrecht, an employee of the Gem Theatre in Panguitch, Utah.\u003ccite class=\"wp-inline-image-credit\"> (Foghorn Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Despite some perplexing sequences of unexplained sepia-toned images — are these theaters dearly departed, or are they just old? — \u003cem>The Last Picture Shows\u003c/em> is a dreamy journey through small towns and vast landscapes. It might even spark a few road trips of its own.\u003c/p>\n",
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"\n\u003cp>Despite some perplexing sequences of unexplained sepia-toned images — are these theaters dearly departed, or are they just old? — \u003cem>The Last Picture Shows\u003c/em> is a dreamy journey through small towns and vast landscapes. It might even spark a few road trips of its own.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The film’s title is a nice homage, but it falsely conveys an irreversible finality, an idea that this is the last gasp of a declining business model. Overall, the film is about optimism and resilience.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The film’s title is a nice homage, but it falsely conveys an irreversible finality, an idea that this is the last gasp of a declining business model. Overall, the film is about optimism and resilience.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In Thompson’s interview with Teresa McQuisten of the \u003ca href=\"https://www.eltrym.com/\">Eltrym Theater\u003c/a> in Baker City, Oregon, the cheery bustle of people passing through the lobby interrupts the conversation multiple times. \u003c/p>\n",
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"\n\u003cp>In Thompson’s interview with Teresa McQuisten of the \u003ca href=\"https://www.eltrym.com/\">Eltrym Theater\u003c/a> in Baker City, Oregon, the cheery bustle of people passing through the lobby interrupts the conversation multiple times. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“It’s actually not a business that I worry about,” McQuisten says. “People always want to get together with friends outside the house.”\u003c/p>\n",
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"\n\u003cp>“It’s actually not a business that I worry about,” McQuisten says. “People always want to get together with friends outside the house.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://rustinthompson.com/last-picture-shows/\">The Last Picture Shows\u003c/a>’ plays Sept. 20–21 at the \u003ca href=\"https://www.balboamovies.com/calendar-of-events/the-last-picture-shows-september-20\">Balboa Theater\u003c/a> (3630 Balboa St., San Francisco); Sept. 22 at \u003ca href=\"https://rialtocinemas.com/now-playing/the-last-picture-shows-seb/\">Rialto Cinemas Sebastopol\u003c/a> (6868 McKinley Ave.); Sept. 23 at \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/#last\">Rialto Cinemas Elmwood\u003c/a> (2966 College Ave., Berkeley); and Sept. 24 at \u003ca href=\"https://cinema.cafilm.org/film/the-last-picture-shows\">Smith Rafael Film Center\u003c/a> (1118 4th St., San Rafael).\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘\u003ca href=\"https://rustinthompson.com/last-picture-shows/\">The Last Picture Shows\u003c/a>’ plays Sept. 20–21 at the \u003ca href=\"https://www.balboamovies.com/calendar-of-events/the-last-picture-shows-september-20\">Balboa Theater\u003c/a> (3630 Balboa St., San Francisco); Sept. 22 at \u003ca href=\"https://rialtocinemas.com/now-playing/the-last-picture-shows-seb/\">Rialto Cinemas Sebastopol\u003c/a> (6868 McKinley Ave.); Sept. 23 at \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/#last\">Rialto Cinemas Elmwood\u003c/a> (2966 College Ave., Berkeley); and Sept. 24 at \u003ca href=\"https://cinema.cafilm.org/film/the-last-picture-shows\">Smith Rafael Film Center\u003c/a> (1118 4th St., San Rafael).\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Each screening is followed by a Q&A with filmmaker Rustin Thompson.\u003c/em>\u003c/p>\n",
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"excerpt": "Rustin Thompson’s ‘The Last Picture Shows’ is an homage to the movie theaters of the American West.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s a hopeful note to Rustin Thompson’s \u003cem>\u003ca href=\"https://rustinthompson.com/last-picture-shows/\">The Last Picture Shows\u003c/a>\u003c/em>, despite the numbers the documentary routinely deploys to stress the struggles of small-town \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theaters\u003c/a>. A century ago, there were 22,000 movie theaters in the U.S.; now there are fewer than 3,000. Since the pandemic, nearly 5,000 movie screens have stayed dark. Many people in “cinema deserts” live five, 10 or 50 miles from the nearest theater.\u003c/p>\n\n\n\n\u003cp>These statistics sound bleak, and many of the façades Thompson captured on an epic tour of the American West (10 states, 10,925 miles, 123 theaters) are boarded up, emptied out or converted to other businesses. But Thompson makes sure those quiet shots are countered by livelier ones. We see the electric glow of neon signs, marquees bearing the names of current-day films and the smiling faces of the people still doggedly running their single-screen and drive-in theaters for the good of their communities. \u003c/p>\n\n\n\n\u003cp>“It’s effort,” says \u003ca href=\"https://www.monteriotheater.com/\">Rio Theater\u003c/a> owner Dave Lockhart in Monte Rio, California, “but if you can make it work, it’s the best thing.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000.jpg\" alt=\"man stands in front of empty marquee on pink façade of quonset hut theater\" class=\"wp-image-13993989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Monte-Rio-Monte-Rio-CA_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Dave Lockhart stands in front of the Rio Theater in Monte Rio, California. (Foghorn Features)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cem>The Last Picture Shows\u003c/em> is guided by intermittent history lessons from Ross Melnick, a UC Santa Barbara professor of film and media studies and the author of \u003ca href=\"https://www.cinematreasures.org/book\">\u003cem>Cinema Treasures\u003c/em>\u003c/a>. Melnick sketches a timeline from vaudeville to the present day, charting the booms and busts of moviegoing against population shifts and economic hard times. \u003c/p>\n\n\n\n\u003cp>There have been previous cycles of competition between moviegoing and other media, he explains, whether that was radio, television or streaming. But a still-active downtown movie theater is proof that the arts are a central part of that town’s daily life. Alongside restaurants and retail, a vibrant downtown should have cultural offerings, Melnick argues, and those cultural offerings should be available to everyone.\u003c/p>\n\n\n\n\u003cp>Many of the theater owners Thompson interviewed echo that belief. Cody Jones, part of a community group restoring the 113-year-old \u003ca href=\"http://www.seeleytheatre.com/\">Seeley Theatre\u003c/a> in Pomeroy, Washington, estimates between 60–70% of the town’s high school graduates leave; there’s not enough jobs or culture to keep them around.\u003c/p>\n\n\n\n\u003cp>“We don’t have anything else here,” says \u003ca href=\"https://www.facebook.com/deserthistorictheatre/\">Desert Historic Theater\u003c/a> owner Mel “Tiny” Pedersen in Burns, Oregon — a town of around 2,700 people. “There’s not a bowling alley, there’s not a video game machine, there’s absolutely nothing else for high school kids or teenagers or even young adults to have a night out on the town with a date.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg\" alt=\"older white man in suspenders leans against concession stand counter\" class=\"wp-image-13993985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Desert-Historic-Theater-Burns-OR.-owner-Tiny-Pedersen_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Mel ‘Tiny’ Pedersen, owner of the Desert Historic Theater in Burns, Oregon. (Foghorn Features)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Pedersen is the first theater owner we meet in Rustin’s 78-minute film, but the challenges he faces are repeated across state lines: the movie studio bookings are too restrictive; COVID closures have shifted audience habits; everything’s so darn expensive. (A running visual gag in the documentary is the number of marquees bearing the title \u003cem>Shazam\u003c/em>.)\u003c/p>\n\n\n\n\u003cp>As might be expected, \u003cem>The Last Picture Shows\u003c/em> also includes clips from movies featuring moviegoing, including its namesake, Peter Bogdanovich’s 1971 film \u003cem>The Last Picture Show\u003c/em>, about life in a small Texas town with one movie theater. “Won’t be much to do in town once the picture show closes,” says a very young Jeff Bridges in one scene.\u003c/p>\n\n\n\n\u003cp>With clips like these, a soundtrack of spare, twangy guitar and plenty of nearly still shots of boxy theaters, Thompson’s \u003cem>The Last Picture Shows\u003c/em> can be downright melancholy at times. That is, until we meet 14-year-old \u003ca href=\"https://www.facebook.com/panguitchgem/\">Gem Theater\u003c/a> employee Maverick Albrecht, who we see working the concession stand at the Panguich, Utah theater. (Yes, he was named after \u003cem>Top Gun\u003c/em>.)\u003c/p>\n\n\n\n\u003cp>It’s important to have a place in town where you can just go and chill, Albrecht says, “like a date night little setting.” I dare any filmmaker to find a greater spokesperson for the importance of small-town movie theaters. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000.jpg\" alt=\"young white person in front of movie theater marquee\" class=\"wp-image-13993987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Gem-Maverick-Albrecht-employee-Panguitch-UT_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Maverick Albrecht, an employee of the Gem Theatre in Panguitch, Utah. (Foghorn Features)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Despite some perplexing sequences of unexplained sepia-toned images — are these theaters dearly departed, or are they just old? — \u003cem>The Last Picture Shows\u003c/em> is a dreamy journey through small towns and vast landscapes. It might even spark a few road trips of its own.\u003c/p>\n\n\n\n\u003cp>The film’s title is a nice homage, but it falsely conveys an irreversible finality, an idea that this is the last gasp of a declining business model. Overall, the film is about optimism and resilience.\u003c/p>\n\n\n\n\u003cp>In Thompson’s interview with Teresa McQuisten of the \u003ca href=\"https://www.eltrym.com/\">Eltrym Theater\u003c/a> in Baker City, Oregon, the cheery bustle of people passing through the lobby interrupts the conversation multiple times. \u003c/p>\n\n\n\n\u003cp>“It’s actually not a business that I worry about,” McQuisten says. “People always want to get together with friends outside the house.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>‘\u003ca href=\"https://rustinthompson.com/last-picture-shows/\">The Last Picture Shows\u003c/a>’ plays Sept. 20–21 at the \u003ca href=\"https://www.balboamovies.com/calendar-of-events/the-last-picture-shows-september-20\">Balboa Theater\u003c/a> (3630 Balboa St., San Francisco); Sept. 22 at \u003ca href=\"https://rialtocinemas.com/now-playing/the-last-picture-shows-seb/\">Rialto Cinemas Sebastopol\u003c/a> (6868 McKinley Ave.); Sept. 23 at \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/#last\">Rialto Cinemas Elmwood\u003c/a> (2966 College Ave., Berkeley); and Sept. 24 at \u003ca href=\"https://cinema.cafilm.org/film/the-last-picture-shows\">Smith Rafael Film Center\u003c/a> (1118 4th St., San Rafael).\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Each screening is followed by a Q&A with filmmaker Rustin Thompson.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "A Celebration of the All the Art Coming to SF’s Chinatown",
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"content": "\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n\n\n\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n\n\n\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1246\" height=\"798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png\" alt=\"square building on corner with colorful mural at street level\" class=\"wp-image-13993608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-768x492.png 768w\" sizes=\"auto, (max-width: 1246px) 100vw, 1246px\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of the renovated Chinatown Community Health Center with a mural by Twin Walls Mural Company on its corner. (San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n\n\n\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n\n\n\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1125\" height=\"2000\" data-id=\"13993610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg\" alt=\"hand holding a red-sewn thread with a TH at the center\" class=\"wp-image-13993610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-864x1536.jpg 864w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\" />\u003cfigcaption class=\"wp-element-caption\">A commemorative patch for the ‘Threaded Histories’ project, to be given away at Chinatown-Rose Pak Station on Sept. 12. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1126\" height=\"2000\" data-id=\"13993611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg\" alt=\"woman leans over sewing table working on large-scale design\" class=\"wp-image-13993611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg 1126w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-768x1364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-865x1536.jpg 865w\" sizes=\"auto, (max-width: 1126px) 100vw, 1126px\" />\u003cfigcaption class=\"wp-element-caption\">Ariana Martinez-Cruz works in her studio on the temporary monument ‘Threaded Histories.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n\n\n\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program. (Courtesy of the David Leong Family Collection)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Permanent, full access to all of Chinatown’s public and community spaces may be months (or years) away, but events like this prove there are still plenty of ways to fill the streets with art. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n",
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"\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n",
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"\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n",
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"\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n",
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"\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n",
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"\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n",
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"\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n",
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"\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the David Leong Family Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n",
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"excerpt": "The Empress of China building reopens for the first time since 2016 in a daylong, neighborhood art walk. ",
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"title": "A Celebration of the All the Art Coming to SF’s Chinatown | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n\n\n\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n\n\n\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1246\" height=\"798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png\" alt=\"square building on corner with colorful mural at street level\" class=\"wp-image-13993608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-768x492.png 768w\" sizes=\"auto, (max-width: 1246px) 100vw, 1246px\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of the renovated Chinatown Community Health Center with a mural by Twin Walls Mural Company on its corner. (San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n\n\n\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n\n\n\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1125\" height=\"2000\" data-id=\"13993610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg\" alt=\"hand holding a red-sewn thread with a TH at the center\" class=\"wp-image-13993610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-864x1536.jpg 864w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\" />\u003cfigcaption class=\"wp-element-caption\">A commemorative patch for the ‘Threaded Histories’ project, to be given away at Chinatown-Rose Pak Station on Sept. 12. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1126\" height=\"2000\" data-id=\"13993611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg\" alt=\"woman leans over sewing table working on large-scale design\" class=\"wp-image-13993611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg 1126w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-768x1364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-865x1536.jpg 865w\" sizes=\"auto, (max-width: 1126px) 100vw, 1126px\" />\u003cfigcaption class=\"wp-element-caption\">Ariana Martinez-Cruz works in her studio on the temporary monument ‘Threaded Histories.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n\n\n\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program. (Courtesy of the David Leong Family Collection)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Permanent, full access to all of Chinatown’s public and community spaces may be months (or years) away, but events like this prove there are still plenty of ways to fill the streets with art. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "di-rosa-land-sale-napa-public-park",
"title": "di Rosa Land Could Become a Napa County Public Park",
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"headTitle": "di Rosa Land Could Become a Napa County Public Park | KQED",
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"content": "\n\u003cp>Napa’s \u003ca href=\"https://www.kqed.org/arts/tag/di-rosa\">di Rosa\u003c/a> Center for Contemporary Art, a museum housing a substantial collection of work by Northern California artists, has been in financial straits for a while. \u003c/p>\n\n\n\n\u003cp>Last year, the art center announced \u003ca href=\"https://www.kqed.org/arts/13973328/di-rosa-napa-rental-closure-san-francisco-incorrect-museum\">layoffs and an expansion\u003c/a> into San Francisco, an attempt to reach new audiences while renovating its Napa campus for more event rentals. Earlier this year, the di Rosa put its entire 217-acre property \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-preserve-art-museum-for-sale-carneros/article_c10a50a1-c5be-4271-acad-517836af6f19.html\">on the market\u003c/a> for $10.9 million. And in June, the \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-art-museum-endowment-san-francisco-gallery/article_bac473ee-861d-4b9e-a1c9-f3bf46330786.html\">\u003cem>Napa Valley Register\u003c/em> reported\u003c/a> over $700,000 in deferred maintenance and an endowment that has shrunk from $5 million to less than $500,000.\u003c/p>\n\n\n\n\n\n\u003cp>Now, the art center hopes a three-way agreement with the \u003ca href=\"https://napaoutdoors.org/\">Napa County Regional Park & Open Space District\u003c/a> and the \u003ca href=\"https://napalandtrust.org/2026/08/25/land-trust-of-napa-county-and-di-rosa-center-forge-milestone-partnership-to-save-carneros-ridgeline-and-fund-local-arts/\">Land Trust of Napa County\u003c/a> may help turn the tides. The agreement, announced on Aug. 25, would allow Napa County’s parks system to eventually purchase the upper 162 acres of the di Rosa property, leaving 52 acres, including the museum buildings and lake, under di Rosa’s ownership. \u003c/p>\n\n\n\n\u003cp>Neal Harrison, a former di Rosa board member and a strategic advisor on the deal, says this won’t solve all of the museum’s current financial problems. “The final purchase price is $1.85 million — it’s not like a $100 million you can put into an endowment and run with,” he told KQED. “But it helps stabilize the organization as the operating model improves.”\u003c/p>\n\n\n\n\u003cp>The agreement provides an initial $500,000 to di Rosa, with the remaining $1.35 million balance tied to the passage of \u003ca href=\"https://www.napacounty.gov/2471/County-of-Napa---Measure-B\">Measure B\u003c/a> in November. \u003c/p>\n\n\n\n\u003cp>The parcel includes Milliken Peak, the tallest point in the Carneros region, which provides sweeping views of Napa Valley, San Pablo Bay and, on clear days, the Golden Gate Bridge. The di Rosa currently leads hikes to the peak once a month for small groups of visitors; the sale would greatly increase public access to the site.\u003c/p>\n\n\n\n\u003cp>Melanie Parker, CEO of the Land Trust of Napa County, described the deal as a “true win-win partnership” in last week’s announcement. “By working directly with di Rosa, we are protecting a treasured scenic ridgeline at zero initial cost to taxpayers, while helping a vital arts institution thrive,” she said.\u003c/p>\n\n\n\n\u003cp>If Measure B — a sales tax tied to wildfire preparedness, watershed protection and open space preservation — does not pass, the purchase could still go through. But the Open Space District would need to find the money elsewhere.\u003c/p>\n\n\n\n\u003cp>The Open Space District plans include a two-mile trail to the top of Milliken Peak, a path already dotted with a few sculpture works from the di Rosa collection. Under the sale agreement, more artworks could be added, in line with Rene di Rosa’s original vision for his “art and nature preserve.”\u003c/p>\n\n\n\n\u003cp>“If you looked at the articles of incorporation and some of his early writings and so forth, [di Rosa] really wanted the art to be — because it’s a Northern California collection of art — blended into the Northern California landscape,” Harrison said. \u003c/p>\n\n\n\n\u003cp>In the di Rosa’s ideal world, more access to the landscape would also mean more interest in the art collection, potentially bringing more revenue to the art center itself. “I think a lot of people drive by on the highway and don’t really know what it is,” Harrison said. “And I think that can change with a public hiking trail.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Last year, the art center announced \u003ca href=\"https://www.kqed.org/arts/13973328/di-rosa-napa-rental-closure-san-francisco-incorrect-museum\">layoffs and an expansion\u003c/a> into San Francisco, an attempt to reach new audiences while renovating its Napa campus for more event rentals. Earlier this year, the di Rosa put its entire 217-acre property \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-preserve-art-museum-for-sale-carneros/article_c10a50a1-c5be-4271-acad-517836af6f19.html\">on the market\u003c/a> for $10.9 million. And in June, the \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-art-museum-endowment-san-francisco-gallery/article_bac473ee-861d-4b9e-a1c9-f3bf46330786.html\">\u003cem>Napa Valley Register\u003c/em> reported\u003c/a> over $700,000 in deferred maintenance and an endowment that has shrunk from $5 million to less than $500,000.\u003c/p>\n",
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"\n\u003cp>Last year, the art center announced \u003ca href=\"https://www.kqed.org/arts/13973328/di-rosa-napa-rental-closure-san-francisco-incorrect-museum\">layoffs and an expansion\u003c/a> into San Francisco, an attempt to reach new audiences while renovating its Napa campus for more event rentals. Earlier this year, the di Rosa put its entire 217-acre property \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-preserve-art-museum-for-sale-carneros/article_c10a50a1-c5be-4271-acad-517836af6f19.html\">on the market\u003c/a> for $10.9 million. And in June, the \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-art-museum-endowment-san-francisco-gallery/article_bac473ee-861d-4b9e-a1c9-f3bf46330786.html\">\u003cem>Napa Valley Register\u003c/em> reported\u003c/a> over $700,000 in deferred maintenance and an endowment that has shrunk from $5 million to less than $500,000.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Now, the art center hopes a three-way agreement with the \u003ca href=\"https://napaoutdoors.org/\">Napa County Regional Park & Open Space District\u003c/a> and the \u003ca href=\"https://napalandtrust.org/2026/08/25/land-trust-of-napa-county-and-di-rosa-center-forge-milestone-partnership-to-save-carneros-ridgeline-and-fund-local-arts/\">Land Trust of Napa County\u003c/a> may help turn the tides. The agreement, announced on Aug. 25, would allow Napa County’s parks system to eventually purchase the upper 162 acres of the di Rosa property, leaving 52 acres, including the museum buildings and lake, under di Rosa’s ownership. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Neal Harrison, a former di Rosa board member and a strategic advisor on the deal, says this won’t solve all of the museum’s current financial problems. “The final purchase price is $1.85 million — it’s not like a $100 million you can put into an endowment and run with,” he told KQED. “But it helps stabilize the organization as the operating model improves.”\u003c/p>\n",
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"\n\u003cp>Neal Harrison, a former di Rosa board member and a strategic advisor on the deal, says this won’t solve all of the museum’s current financial problems. “The final purchase price is $1.85 million — it’s not like a $100 million you can put into an endowment and run with,” he told KQED. “But it helps stabilize the organization as the operating model improves.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The agreement provides an initial $500,000 to di Rosa, with the remaining $1.35 million balance tied to the passage of \u003ca href=\"https://www.napacounty.gov/2471/County-of-Napa---Measure-B\">Measure B\u003c/a> in November. \u003c/p>\n",
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"\n\u003cp>The agreement provides an initial $500,000 to di Rosa, with the remaining $1.35 million balance tied to the passage of \u003ca href=\"https://www.napacounty.gov/2471/County-of-Napa---Measure-B\">Measure B\u003c/a> in November. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The parcel includes Milliken Peak, the tallest point in the Carneros region, which provides sweeping views of Napa Valley, San Pablo Bay and, on clear days, the Golden Gate Bridge. The di Rosa currently leads hikes to the peak once a month for small groups of visitors; the sale would greatly increase public access to the site.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Melanie Parker, CEO of the Land Trust of Napa County, described the deal as a “true win-win partnership” in last week’s announcement. “By working directly with di Rosa, we are protecting a treasured scenic ridgeline at zero initial cost to taxpayers, while helping a vital arts institution thrive,” she said.\u003c/p>\n",
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"innerHTML": "\n\u003cp>If Measure B — a sales tax tied to wildfire preparedness, watershed protection and open space preservation — does not pass, the purchase could still go through. But the Open Space District would need to find the money elsewhere.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Open Space District plans include a two-mile trail to the top of Milliken Peak, a path already dotted with a few sculpture works from the di Rosa collection. Under the sale agreement, more artworks could be added, in line with Rene di Rosa’s original vision for his “art and nature preserve.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“If you looked at the articles of incorporation and some of his early writings and so forth, [di Rosa] really wanted the art to be — because it’s a Northern California collection of art — blended into the Northern California landscape,” Harrison said. \u003c/p>\n",
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"innerHTML": "\n\u003cp>In the di Rosa’s ideal world, more access to the landscape would also mean more interest in the art collection, potentially bringing more revenue to the art center itself. “I think a lot of people drive by on the highway and don’t really know what it is,” Harrison said. “And I think that can change with a public hiking trail.”\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Napa’s \u003ca href=\"https://www.kqed.org/arts/tag/di-rosa\">di Rosa\u003c/a> Center for Contemporary Art, a museum housing a substantial collection of work by Northern California artists, has been in financial straits for a while. \u003c/p>\n\n\n\n\u003cp>Last year, the art center announced \u003ca href=\"https://www.kqed.org/arts/13973328/di-rosa-napa-rental-closure-san-francisco-incorrect-museum\">layoffs and an expansion\u003c/a> into San Francisco, an attempt to reach new audiences while renovating its Napa campus for more event rentals. Earlier this year, the di Rosa put its entire 217-acre property \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-preserve-art-museum-for-sale-carneros/article_c10a50a1-c5be-4271-acad-517836af6f19.html\">on the market\u003c/a> for $10.9 million. And in June, the \u003ca href=\"https://napavalleyregister.com/news/napa-di-rosa-art-museum-endowment-san-francisco-gallery/article_bac473ee-861d-4b9e-a1c9-f3bf46330786.html\">\u003cem>Napa Valley Register\u003c/em> reported\u003c/a> over $700,000 in deferred maintenance and an endowment that has shrunk from $5 million to less than $500,000.\u003c/p>\n\n\n\n\n\n\u003cp>Now, the art center hopes a three-way agreement with the \u003ca href=\"https://napaoutdoors.org/\">Napa County Regional Park & Open Space District\u003c/a> and the \u003ca href=\"https://napalandtrust.org/2026/08/25/land-trust-of-napa-county-and-di-rosa-center-forge-milestone-partnership-to-save-carneros-ridgeline-and-fund-local-arts/\">Land Trust of Napa County\u003c/a> may help turn the tides. The agreement, announced on Aug. 25, would allow Napa County’s parks system to eventually purchase the upper 162 acres of the di Rosa property, leaving 52 acres, including the museum buildings and lake, under di Rosa’s ownership. \u003c/p>\n\n\n\n\u003cp>Neal Harrison, a former di Rosa board member and a strategic advisor on the deal, says this won’t solve all of the museum’s current financial problems. “The final purchase price is $1.85 million — it’s not like a $100 million you can put into an endowment and run with,” he told KQED. “But it helps stabilize the organization as the operating model improves.”\u003c/p>\n\n\n\n\u003cp>The agreement provides an initial $500,000 to di Rosa, with the remaining $1.35 million balance tied to the passage of \u003ca href=\"https://www.napacounty.gov/2471/County-of-Napa---Measure-B\">Measure B\u003c/a> in November. \u003c/p>\n\n\n\n\u003cp>The parcel includes Milliken Peak, the tallest point in the Carneros region, which provides sweeping views of Napa Valley, San Pablo Bay and, on clear days, the Golden Gate Bridge. The di Rosa currently leads hikes to the peak once a month for small groups of visitors; the sale would greatly increase public access to the site.\u003c/p>\n\n\n\n\u003cp>Melanie Parker, CEO of the Land Trust of Napa County, described the deal as a “true win-win partnership” in last week’s announcement. “By working directly with di Rosa, we are protecting a treasured scenic ridgeline at zero initial cost to taxpayers, while helping a vital arts institution thrive,” she said.\u003c/p>\n\n\n\n\u003cp>If Measure B — a sales tax tied to wildfire preparedness, watershed protection and open space preservation — does not pass, the purchase could still go through. But the Open Space District would need to find the money elsewhere.\u003c/p>\n\n\n\n\u003cp>The Open Space District plans include a two-mile trail to the top of Milliken Peak, a path already dotted with a few sculpture works from the di Rosa collection. Under the sale agreement, more artworks could be added, in line with Rene di Rosa’s original vision for his “art and nature preserve.”\u003c/p>\n\n\n\n\u003cp>“If you looked at the articles of incorporation and some of his early writings and so forth, [di Rosa] really wanted the art to be — because it’s a Northern California collection of art — blended into the Northern California landscape,” Harrison said. \u003c/p>\n\n\n\n\u003cp>In the di Rosa’s ideal world, more access to the landscape would also mean more interest in the art collection, potentially bringing more revenue to the art center itself. “I think a lot of people drive by on the highway and don’t really know what it is,” Harrison said. “And I think that can change with a public hiking trail.”\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF Camerawork, Legacy Photo Nonprofit, Avoids Closure",
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"content": "\n\u003cp>Nearly three weeks after \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">SF Camerawork announced\u003c/a> its sudden, permanent closure, the 52-year-old photography nonprofit now says it will remain open, thanks to a new interim executive director and a fully replaced board.\u003c/p>\n\n\n\n\u003cp>“After a period of uncertainty, we are thrilled to announce that SF Camerawork will continue,” the organization \u003ca href=\"http://www.instagram.com/p/DcmsaxLgkfE/\">announced\u003c/a> on social media and its website on Aug. 29. \u003c/p>\n\n\n\n\n\n\u003cp>Camerawork, which supports photographers with exhibitions, publications, critiques and other events, was founded in 1974 and has been a crucial space at the beginning of many artists’ careers.\u003c/p>\n\n\n\n\u003cp>The effort to avoid closure was led by photographer Hal Fischer, one of three original founders of the nonprofit, and Monique Deschaines, director of \u003ca href=\"https://www.euqinomgallery.com/about\">Euqinom Gallery\u003c/a> and a former Camerawork board member. \u003c/p>\n\n\n\n\u003cp>Fischer will now serve as board president; Deschaines is the interim executive director. Other \u003ca href=\"https://sfcamerawork.org/who-we-are\">new board members\u003c/a> include Alexis Gordon, Sarah Miller, Adrian Martinez, Alex Ramos, Dave Elfving and Erika Gentry. The group is a mixture of artists and arts professionals, many with long ties to the organization.\u003c/p>\n\n\n\n\u003cp>“The last three weeks are really a blur,” Fischer told KQED. The group needed to work fast; Camerawork’s lease at Fort Mason Center was due to end Aug. 31. \u003c/p>\n\n\n\n\u003cp>Camerawork cited rising operating costs, declining public funding and changes to the “philanthropic landscape” as the reasons behind its closure. But few in the arts community had heard the organization was in trouble before the Aug. 10 announcement.\u003c/p>\n\n\n\n\u003cp>“Nobody knew really what was going on,” Fischer told KQED that day. “And I am getting emails, calls from all over, from LA. ‘We wanna help, we wanna stop this.’”\u003c/p>\n\n\n\n\u003cp>Over the past three weeks, Fischer, Deschaines and a working group of supporters made a proposal to the former board: let us look at the books and put forward a new board, and we can help fund the organization through early 2027. \u003c/p>\n\n\n\n\u003cp>The transition to new leadership has gone fairly smoothly, Fischer said. “I think they were pretty fatigued,” he said. “I think it’s been a really tough road.”\u003c/p>\n\n\n\n\u003cp>The reversal is happy news for an arts community that has suffered its fair share of \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">institutional closures\u003c/a> in recent years. For his part, Fischer is optimistic about the future: “What Camerawork does for emerging photographers, emerging curators, there’s more need for that than ever.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>SF Camerawork will reopen with a \u003ca href=\"https://sfcamerawork.org/upcoming\">members’ exhibition\u003c/a> Sept. 16–Oct. 4, 2026. An opening reception will take place Thursday, Sept. 17, 5–8 p.m.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Camerawork, which supports photographers with exhibitions, publications, critiques and other events, was founded in 1974 and has been a crucial space at the beginning of many artists’ careers.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The effort to avoid closure was led by photographer Hal Fischer, one of three original founders of the nonprofit, and Monique Deschaines, director of \u003ca href=\"https://www.euqinomgallery.com/about\">Euqinom Gallery\u003c/a> and a former Camerawork board member. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Fischer will now serve as board president; Deschaines is the interim executive director. Other \u003ca href=\"https://sfcamerawork.org/who-we-are\">new board members\u003c/a> include Alexis Gordon, Sarah Miller, Adrian Martinez, Alex Ramos, Dave Elfving and Erika Gentry. The group is a mixture of artists and arts professionals, many with long ties to the organization.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The last three weeks are really a blur,” Fischer told KQED. The group needed to work fast; Camerawork’s lease at Fort Mason Center was due to end Aug. 31. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>SF Camerawork will reopen with a \u003ca href=\"https://sfcamerawork.org/upcoming\">members’ exhibition\u003c/a> Sept. 16–Oct. 4, 2026. An opening reception will take place Thursday, Sept. 17, 5–8 p.m.\u003c/em>\u003c/p>\n",
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"excerpt": "Arts community members rallied to replace leadership of the 52-year-old photo nonprofit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Nearly three weeks after \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">SF Camerawork announced\u003c/a> its sudden, permanent closure, the 52-year-old photography nonprofit now says it will remain open, thanks to a new interim executive director and a fully replaced board.\u003c/p>\n\n\n\n\u003cp>“After a period of uncertainty, we are thrilled to announce that SF Camerawork will continue,” the organization \u003ca href=\"http://www.instagram.com/p/DcmsaxLgkfE/\">announced\u003c/a> on social media and its website on Aug. 29. \u003c/p>\n\n\n\n\n\n\u003cp>Camerawork, which supports photographers with exhibitions, publications, critiques and other events, was founded in 1974 and has been a crucial space at the beginning of many artists’ careers.\u003c/p>\n\n\n\n\u003cp>The effort to avoid closure was led by photographer Hal Fischer, one of three original founders of the nonprofit, and Monique Deschaines, director of \u003ca href=\"https://www.euqinomgallery.com/about\">Euqinom Gallery\u003c/a> and a former Camerawork board member. \u003c/p>\n\n\n\n\u003cp>Fischer will now serve as board president; Deschaines is the interim executive director. Other \u003ca href=\"https://sfcamerawork.org/who-we-are\">new board members\u003c/a> include Alexis Gordon, Sarah Miller, Adrian Martinez, Alex Ramos, Dave Elfving and Erika Gentry. The group is a mixture of artists and arts professionals, many with long ties to the organization.\u003c/p>\n\n\n\n\u003cp>“The last three weeks are really a blur,” Fischer told KQED. The group needed to work fast; Camerawork’s lease at Fort Mason Center was due to end Aug. 31. \u003c/p>\n\n\n\n\u003cp>Camerawork cited rising operating costs, declining public funding and changes to the “philanthropic landscape” as the reasons behind its closure. But few in the arts community had heard the organization was in trouble before the Aug. 10 announcement.\u003c/p>\n\n\n\n\u003cp>“Nobody knew really what was going on,” Fischer told KQED that day. “And I am getting emails, calls from all over, from LA. ‘We wanna help, we wanna stop this.’”\u003c/p>\n\n\n\n\u003cp>Over the past three weeks, Fischer, Deschaines and a working group of supporters made a proposal to the former board: let us look at the books and put forward a new board, and we can help fund the organization through early 2027. \u003c/p>\n\n\n\n\u003cp>The transition to new leadership has gone fairly smoothly, Fischer said. “I think they were pretty fatigued,” he said. “I think it’s been a really tough road.”\u003c/p>\n\n\n\n\u003cp>The reversal is happy news for an arts community that has suffered its fair share of \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">institutional closures\u003c/a> in recent years. For his part, Fischer is optimistic about the future: “What Camerawork does for emerging photographers, emerging curators, there’s more need for that than ever.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>SF Camerawork will reopen with a \u003ca href=\"https://sfcamerawork.org/upcoming\">members’ exhibition\u003c/a> Sept. 16–Oct. 4, 2026. An opening reception will take place Thursday, Sept. 17, 5–8 p.m.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "best-museum-gallery-shows-visual-art-guide-fall-2026-bolinas-moraga-palo-alto",
"title": "The 10 Best Museum and Gallery Shows to See This Fall",
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"content": "\n\u003cp>\u003cem>Be sure to check out our full \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">\u003cem>2026 Fall Arts Guide\u003c/em>\u003c/a> \u003cem>to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n\n\n\n\u003cp>I’ll be honest with you: making this list is hard. There’s simply too much great stuff going on in the Bay Area’s visual arts scene to do it justice in 10 or so blurbs. \u003c/p>\n\n\n\n\u003cp>In just the next three months, we’ve got the Richmond Art Center turning 90 years old (and \u003ca href=\"https://richmondartcenter.org/events/90th-birthday-party-8-29-26/\">celebrating accordingly\u003c/a>). We’ve got \u003ca href=\"https://www.kqed.org/arts/13992388/rm-bts-sfmoma-ticket-alert\">RM of BTS\u003c/a> co-curating a truly good-looking show at the San Francisco Museum of Modern Art. And we’ve got a gloriously packed third annual \u003ca href=\"https://www.nexus-sfbay.com/\">Black Art Week\u003c/a>, led by the Museum of the African Diaspora.\u003c/p>\n\n\n\n\u003cp>The arts community has been \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">through\u003c/a> \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">a lot\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">this year\u003c/a>. And while few of us have the funds or the power to single-handedly save our arts institutions from obsolescence, we \u003cem>can\u003c/em> go to things. We can show up at talks, screenings, openings and walks. Because sometimes the difference between something existing and something ceasing to be is an enthusiastic crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1310\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg\" alt=\"colorful wacky shaped table lamp with blue shade, blown glass vase with stars and stripes\" class=\"wp-image-13993101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-768x489.jpg 768w\" sizes=\"auto, (max-width: 1310px) 100vw, 1310px\" />\u003cfigcaption class=\"wp-element-caption\">L: A lamp by Jolie Ngo, one of the contemporary artists in ‘OBJECTS: USA’; R: A glass vase by Richard Marquis, one of the original artists from the 1969 presentation. (Museum of Craft and Design)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://sfmcd.org/exhibitions/objects-usa/\">\u003cstrong>OBJECTS: USA\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 5, 2026–Jan. 17, 2027\u003c/em>\u003cbr>\u003cem>Museum of Craft and Design, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>I have a distinct memory of a book with this title existing on my parents’ coffee table. Turns out it was the catalog of a landmark 1969 Smithsonian exhibition on the previously un-exalted subject of American studio craft. Revisiting this premise nearly 60 years later, R & Company, a New York design gallery, has organized an exhibition that features artists from the original show, as well as a roster of contemporary artists working with clay, fiber, glass, metal, wood, enamel, mosaic and more. A must-see for fans of funky materials, lively interiors and colorful objets d’art. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg\" alt=\"graphite portrait of Black woman in diamond-shaped frame\" class=\"wp-image-13993124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Lava Thomas, ‘Unnamed but Not Unknown II (Promise),’ 2026. (Jessica Silverman Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Lava Thomas, ‘\u003c/strong>\u003ca href=\"https://jessicasilvermangallery.com/online-shows/lava-thomas/\">\u003cstrong>Lineage\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–Oct. 24, 2026\u003c/em>\u003cbr>\u003cem>Jessica Silverman, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>It’s been eight years since Lava Thomas’ last solo exhibition in the Bay Area — the 2018 show \u003cem>\u003ca href=\"https://www.kqed.org/arts/13841129/drawn-out-of-history-lava-thomas-mug-shots-at-rena-bransten-gallery\">Mugshots\u003c/a> \u003c/em>at Rena Bransten Gallery, which featured portraits of women arrested during the Montgomery bus boycott. Now, Thomas has turned to her own family history for her large-scale graphite and Conté crayon drawings. Delicate lines and shading give luminous three-dimensionality to Thomas’ images of her ancestors in post-Emancipation Texas. (Opening upstairs the same night is new work from \u003ca href=\"https://jessicasilvermangallery.com/online-shows/sadie-barnette/\">Sadie Barnette\u003c/a>, whose equally precise drawings include dollops of rainbow-hued color.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg\" alt=\"person in Frankenstein monster costume lays on ground with colorful plastic brooms\" class=\"wp-image-13993141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Alex Da Corte, ‘Slow Graffiti,’ 2017; video still. (Courtesy of the artist, KADIST collection)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://minnesotastreetproject.org/character-development\">\u003cstrong>Character Development\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–Oct. 31, 2026\u003c/em>\u003cbr>\u003cem>1201 Minnesota St., San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>KADIST and the Minnesota Street Project Foundation are teaming up to present video installations by Sophia Al-Maria, Korakrit Arunanondchai, Sara Cwynar, Alex Da Corte, Beatrice Gibson and Martine Syms in the foundation’s cavernous warehouse space. In each piece, the artist appears on-screen in a “guise.” I’ve seen only one of these works — Cwynar’s \u003cem>Baby Blue Benzo\u003c/em>, an elaborately orchestrated video that exposes the artifice of how images are made — but that one alone is worth lining up for. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1899\" height=\"1320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg\" alt=\"two wall-mounted sculptures of architectural objects: a fan vent and a window full of stuff\" class=\"wp-image-13993126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg 1899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-1536x1068.jpg 1536w\" sizes=\"auto, (max-width: 1899px) 100vw, 1899px\" />\u003cfigcaption class=\"wp-element-caption\">L: Malcolm Kenter, ‘Hawk and Fan Intervention,’ 2025; R: ‘Hoarder Window Shadow Box (ode to Distant Cousin Cornell),’ 2026. (Saint Mary’s College Museum of Art)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Malcolm W. Kenter, ‘Synechdoche’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 16–Dec. 13, 2026\u003cbr>\u003ca href=\"https://www.stmarys-ca.edu/museum-art\">St. Mary’s College Museum of Art\u003c/a>, Moraga\u003c/em>\u003c/p>\n\n\n\n\u003cp>Malcolm Kenter, a whiz at creating homages to utilitarian and underappreciated facets of the urban environment, will show a decade of his work in his first museum solo show. Kenter takes a variety of material approaches in his work: needlepoint, miniatures, life-sized replicas of architectural features. In all these forms, you can see Kenter’s appreciation for the accumulation of history, building styles and daily grime that gives San Francisco its essential, beautiful character. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg\" alt=\"old advertisement in French for photosculpture\" class=\"wp-image-13993127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-1536x1067.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A. Van Geleyn, ‘Photosculpture. Sculpture d’après nature obetenue mécaniquement. Dix secondes de pose,’ 1865; Lithograph. (Bibliothèque nationale de France)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://museum.stanford.edu/exhibitions/solid-pictures\">\u003cstrong>Solid Pictures: Photosculpture and the Making of Modern Likeness\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 17, 2026–Jan. 18, 2027 \u003c/em>\u003cbr>\u003cem>Cantor Arts Center, Stanford\u003c/em>\u003c/p>\n\n\n\n\u003cp>In 1859, long before we had 3D scanning and printing, a 29-year-old French artist and inventor came up with a means to translate photographs into solid objects. These photosculptures were an attempt to make portraiture more affordable for a growing middle class. Ultimately, the technology didn’t take off — it’s hard to be ahead of one’s time. But that means we’ll have even more to learn from the first major exhibition of this strange, hybrid approach to capturing likenesses.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg\" alt=\"multicolored and textured textile with the word YES in the lower right corner\" class=\"wp-image-13993120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-768x512.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">Terri Friedman, ‘Yes. Yes.’ 2022; Wool, cotton, acrylic, hemp, metallic, chenille fibers. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.paloalto.gov/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center/See-Art/Exhibitions/Upcoming\">\u003cstrong>Live the moment light\u003c/strong>\u003c/a>\u003cstrong>’ \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19–Dec. 13, 2026 \u003c/em>\u003cbr>\u003cem>Palo Alto Art Center\u003c/em>\u003c/p>\n\n\n\n\u003cp>This show, curated by Christine Koppes, gathers work by Solée Darrell, Terri Friedman and Angelica Trimble-Yanu to trace the influence of Corita Kent, the artist and one-time nun whose bright colors and lessons on curious, close looking have shaped generations. The pleasure in this one will be seeing how Kent’s work interacts with Darrell’s dye on velvet paintings, Friedman’s kaleidoscopic textiles and Trimble-Yanu’s monochrome prints. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1747\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg\" alt=\"dynamic painting of containers falling into ocean from cargo ship\" class=\"wp-image-13993121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-768x671.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-1536x1342.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Dewey Crumpler, ‘Breach,’ 2023; Acrylic and metal leaf on canvas. (Courtesy of the artist and Jenkins Johnson Gallery New York and San Francisco)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.nexus-sfbay.com/\">\u003cstrong>Nexus: SF/Bay Area Black Art Week\u003c/strong>\u003c/a>\u003cstrong> \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 30–Oct. 4, 2026\u003c/em>\u003cbr>\u003cem>Various locations\u003c/em>\u003c/p>\n\n\n\n\u003cp>The third edition of Black Art Week, founded by the Museum of African Diaspora, packs a dense schedule of talks, shows, open studios, screenings and parties into spaces all around the Bay. Not to miss: Dewey Crumpler’s \u003ca href=\"https://www.moadsf.org/exhibitions/dewey-crumpler-sonic-lineages\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at MoAD; Dread Scott’s \u003ca href=\"https://ybca.org/yerba-buena-center-for-the-arts-announces-upcoming-season-of-exhibitions-and-programs-for-2026/\">\u003cem>The Body Politic\u003c/em>\u003c/a> at Yerba Buena Center for the Arts; and what’s sure to be an excellent conversation between \u003ca href=\"https://nexus2026a.sched.com/event/2VOLi/open-studio-x-artist-talk-ashara-ekundayo-in-conversation-with-emory-douglas?iframe=no\">Emory Douglas and Ashara Ekundayo\u003c/a> at Minnesota Street Project. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg\" alt=\"green glowing woman looks astonished, two red glowing women missing one eye flank her\" class=\"wp-image-13993113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-1536x960.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A still from Daviel Shy’s ‘After the Pleasure Dome,’ 2026. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.slashart.org/sideways-glance/\">\u003cstrong>Sideways Glance\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 3, 2026–Feb. 20, 2027\u003c/em>\u003cbr>\u003cem>Slash, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>We are \u003cem>rich\u003c/em> in interestingly framed group exhibitions this fall. This one focuses on artists exploring the lesbian body, feminist practices and work that has a physical effect on the viewer. Curator Elena Gross pulls together installation, sculpture and video from Alexa Burrell, Sienna Freeman, Daviel Shy and the late Barbara Hammer (subject of a recent, fantastic documentary, \u003ca href=\"https://bampfa.org/event/barbara-forever\">\u003cem>Barbara Forever\u003c/em>\u003c/a>). “In the act of a woman looking at a woman, specificity is introduced,” Shy writes in \u003ca href=\"https://medium.com/@davielshy/women-seeing-women-c29fc53e2f82\">the essay\u003c/a> that lends this show its name. “Once there are two women in the equation, neither can be \u003cem>the\u003c/em> symbol of woman.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1926\" height=\"1548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg\" alt=\"black and white photo of children playing on soft curved gloopy shaped sculpture\" class=\"wp-image-13993191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg 1926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-1536x1235.jpg 1536w\" sizes=\"auto, (max-width: 1926px) 100vw, 1926px\" />\u003cfigcaption class=\"wp-element-caption\">Robert Winson’s ‘Oakland Monster’ play sculpture at Lake Merritt, designed in 1952. (Courtesy Oakland Public Library, Oakland History Room)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.docomomo-noca.org/more-news/2026/1/22/tourday-2026?rq=lake%20merritt\">\u003cstrong>Lake Merritt Tour Day\u003c/strong>\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 10, 2026\u003c/em>\u003cbr>\u003cem>Lake Merritt, Oakland\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event comes from the wonderfully acronymed \u003ca href=\"https://www.docomomo-noca.org/mission-history\">Docomomo\u003c/a>, an international organization committed to documenting and conserving sites associated with the modern architecture movement. As part of a national tour day devoted to recreation and play, our local chapter will lead a walk around Lake Merritt to point out the park pavilions, boathouses, playgrounds and athletic facilities that contribute to the lake’s public space. Anticipate thoughts on how this landscape has shifted over time and who gets to access it. \u003c/p>\n\n\n\n\u003cp>(If you can’t wait until October, and have a penchant for brutalism, there’s a Docomomo tour of the \u003ca href=\"https://www.docomomo-noca.org/events/2026/9/12/modernism-born-in-california-transit-landscape-and-glen-park-bart-brutalism-tour\">Glen Park BART station\u003c/a> on Sept. 12.) \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg\" alt=\"stuffed textile works of women sitting or reclining, melding into furniture\" class=\"wp-image-13993133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-1536x1216.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A undated photograph of Paul Harris’ fabric and cloth sculptures in the artist’s studio in Bolinas. (Paul Harris / Marguerite Kirk Harris Survivor’s Trust)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Paul Harris, ‘The Boy Sews Like An Angel’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 31, 2026–Jan. 3, 2027\u003c/em>\u003cbr>\u003cem>\u003ca href=\"https://bolinasmuseum.org/\">Bolinas Museum\u003c/a>\u003c/em>\u003c/p>\n\n\n\n\u003cp>The Bolinas Museum is on a roll. It just opened a show of \u003ca href=\"https://bolinasmuseum.org/exhibitions/all-this-every-day-bolinas-community-publishing-in-the-seventies/\">community publishing\u003c/a> from the ’70s (including the town’s own take on the Yellow Pages, on view through Sept. 27) and it will soon mount a retrospective exhibition of the late Bolinas resident Paul Harris. The onetime California College of the Arts professor produced work in a variety of mediums, but his most unique format has to be his stuffed textile pieces, which merged figures with furniture. Organized by the artist’s estate, the show sounds possibly bigger than Bolinas itself, with nearly 40 works and an accompanying catalog.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b.jpg\" alt=\"swirling lines and shapes in architectural space, small figures point up\" class=\"wp-image-13993136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-1536x1123.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of Sarah Sze’s ‘Forever is Composed of Nows’ in the SFMOMA atrium. (Sarah Sze Studio)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Sarah Sze, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/sarah-sze/\">Forever is Composed of Nows\u003c/a>’\u003c/strong> \u003c/h2>\n\n\n\n\u003cp>\u003cem>Nov. 21, 2026–ongoing \u003c/em>\u003cbr>\u003cem>San Francisco Museum of Modern Art\u003c/em>\u003c/p>\n\n\n\n\u003cp>For some reason, I thought the Julie Mehretu paintings that currently flank the main staircase inside SFMOMA’s Third Street entrance were a permanent fixture. Not so! Sarah Sze, known for her dazzling, complex installations of small, colorful objects, has been commissioned to create a new piece for the atrium. Created with accessibility in mind, the work includes video projections, three monumental paintings and a “rhythmic, pulsating soundscape.” (We hope, for the sake of SFMOMA staffers at the coat check, that the sound levels are conducive to long-term exposure.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag.jpg\" alt=\"linocut of black cats holding signs\" class=\"wp-image-13993123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag-768x582.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">A work by Dorian Reid, ‘Black Cat Power.’ (Museum of the African Diaspora)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Other things to look forward to this fall\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>September\u003c/strong>: Masaki Fujihata’s \u003ca href=\"https://museumca.org/on-view/behere-1942-a-new-lens-on-the-japanese-american-incarceration/\">\u003cem>BeHere / 1942: A New Lens on the Japanese American Incarceration\u003c/em>\u003c/a> at OMCA; Dorian Reid’s \u003ca href=\"https://www.moadsf.org/exhibitions/calling-all-cats\">\u003cem>Calling All Cats!\u003c/em>\u003c/a> at MoAD; the group exhibition \u003ca href=\"https://www.berkeleyartcenter.org/i-see-every-wave\">\u003cem>I see every wave\u003c/em>\u003c/a> at the Berkeley Art Center; \u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/gregito-togiveandtake/\">Greg Ito’s solo show\u003c/a> at the ICA San José.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>October:\u003c/strong> an unobstructed view of the Ferry Building, when the giant lady is finally deinstalled; Leila Weefur’s \u003ca href=\"https://www.thelab.org/projects/2026/10/9/leila-weefur-the-chapel-of-becoming\">\u003cem>The Chapel of Becoming\u003c/em>\u003c/a> at the Lab.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>November:\u003c/strong> the \u003ca href=\"https://www.indexical.org/events/2026-11-14-within-mirrors-films-of-paul-clipson\">films of Paul Clipson\u003c/a>, screening at Indexical in Santa Cruz.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Be sure to check out our full \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">\u003cem>2026 Fall Arts Guide\u003c/em>\u003c/a> \u003cem>to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Be sure to check out our full \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">\u003cem>2026 Fall Arts Guide\u003c/em>\u003c/a> \u003cem>to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>I’ll be honest with you: making this list is hard. There’s simply too much great stuff going on in the Bay Area’s visual arts scene to do it justice in 10 or so blurbs. \u003c/p>\n",
"innerContent": [
"\n\u003cp>I’ll be honest with you: making this list is hard. There’s simply too much great stuff going on in the Bay Area’s visual arts scene to do it justice in 10 or so blurbs. \u003c/p>\n"
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"innerHTML": "\n\u003cp>In just the next three months, we’ve got the Richmond Art Center turning 90 years old (and \u003ca href=\"https://richmondartcenter.org/events/90th-birthday-party-8-29-26/\">celebrating accordingly\u003c/a>). We’ve got \u003ca href=\"https://www.kqed.org/arts/13992388/rm-bts-sfmoma-ticket-alert\">RM of BTS\u003c/a> co-curating a truly good-looking show at the San Francisco Museum of Modern Art. And we’ve got a gloriously packed third annual \u003ca href=\"https://www.nexus-sfbay.com/\">Black Art Week\u003c/a>, led by the Museum of the African Diaspora.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In just the next three months, we’ve got the Richmond Art Center turning 90 years old (and \u003ca href=\"https://richmondartcenter.org/events/90th-birthday-party-8-29-26/\">celebrating accordingly\u003c/a>). We’ve got \u003ca href=\"https://www.kqed.org/arts/13992388/rm-bts-sfmoma-ticket-alert\">RM of BTS\u003c/a> co-curating a truly good-looking show at the San Francisco Museum of Modern Art. And we’ve got a gloriously packed third annual \u003ca href=\"https://www.nexus-sfbay.com/\">Black Art Week\u003c/a>, led by the Museum of the African Diaspora.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The arts community has been \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">through\u003c/a> \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">a lot\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">this year\u003c/a>. And while few of us have the funds or the power to single-handedly save our arts institutions from obsolescence, we \u003cem>can\u003c/em> go to things. We can show up at talks, screenings, openings and walks. Because sometimes the difference between something existing and something ceasing to be is an enthusiastic crowd.\u003c/p>\n",
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"\n\u003cp>The arts community has been \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">through\u003c/a> \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">a lot\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">this year\u003c/a>. And while few of us have the funds or the power to single-handedly save our arts institutions from obsolescence, we \u003cem>can\u003c/em> go to things. We can show up at talks, screenings, openings and walks. Because sometimes the difference between something existing and something ceasing to be is an enthusiastic crowd.\u003c/p>\n"
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"alt": "colorful wacky shaped table lamp with blue shade, blown glass vase with stars and stripes",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-768x489.jpg 768w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg\" alt=\"colorful wacky shaped table lamp with blue shade, blown glass vase with stars and stripes\" class=\"wp-image-13993101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-768x489.jpg 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">L: A lamp by Jolie Ngo, one of the contemporary artists in ‘OBJECTS: USA’; R: A glass vase by Richard Marquis, one of the original artists from the 1969 presentation.\u003ccite class=\"wp-inline-image-credit\"> (Museum of Craft and Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg\" alt=\"colorful wacky shaped table lamp with blue shade, blown glass vase with stars and stripes\" class=\"wp-image-13993101\" />\u003cfigcaption class=\"wp-element-caption\">L: A lamp by Jolie Ngo, one of the contemporary artists in ‘OBJECTS: USA’; R: A glass vase by Richard Marquis, one of the original artists from the 1969 presentation.\u003ccite class=\"wp-inline-image-credit\"> (Museum of Craft and Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "‘OBJECTS: USA’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://sfmcd.org/exhibitions/objects-usa/\">\u003cstrong>OBJECTS: USA\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://sfmcd.org/exhibitions/objects-usa/\">\u003cstrong>OBJECTS: USA\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 5, 2026–Jan. 17, 2027\u003c/em>\u003cbr>\u003cem>Museum of Craft and Design, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 5, 2026–Jan. 17, 2027\u003c/em>\u003cbr>\u003cem>Museum of Craft and Design, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>I have a distinct memory of a book with this title existing on my parents’ coffee table. Turns out it was the catalog of a landmark 1969 Smithsonian exhibition on the previously un-exalted subject of American studio craft. Revisiting this premise nearly 60 years later, R & Company, a New York design gallery, has organized an exhibition that features artists from the original show, as well as a roster of contemporary artists working with clay, fiber, glass, metal, wood, enamel, mosaic and more. A must-see for fans of funky materials, lively interiors and colorful objets d’art. \u003c/p>\n",
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"\n\u003cp>I have a distinct memory of a book with this title existing on my parents’ coffee table. Turns out it was the catalog of a landmark 1969 Smithsonian exhibition on the previously un-exalted subject of American studio craft. Revisiting this premise nearly 60 years later, R & Company, a New York design gallery, has organized an exhibition that features artists from the original show, as well as a roster of contemporary artists working with clay, fiber, glass, metal, wood, enamel, mosaic and more. A must-see for fans of funky materials, lively interiors and colorful objets d’art. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg\" alt=\"graphite portrait of Black woman in diamond-shaped frame\" class=\"wp-image-13993124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-600x600.jpg 600w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Lava Thomas, ‘Unnamed but Not Unknown II (Promise),’ 2026.\u003ccite class=\"wp-inline-image-credit\"> (Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg\" alt=\"graphite portrait of Black woman in diamond-shaped frame\" class=\"wp-image-13993124\" />\u003cfigcaption class=\"wp-element-caption\">Lava Thomas, ‘Unnamed but Not Unknown II (Promise),’ 2026.\u003ccite class=\"wp-inline-image-credit\"> (Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "Lava Thomas, ‘Lineage’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Lava Thomas, ‘\u003c/strong>\u003ca href=\"https://jessicasilvermangallery.com/online-shows/lava-thomas/\">\u003cstrong>Lineage\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Lava Thomas, ‘\u003c/strong>\u003ca href=\"https://jessicasilvermangallery.com/online-shows/lava-thomas/\">\u003cstrong>Lineage\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 10–Oct. 24, 2026\u003c/em>\u003cbr>\u003cem>Jessica Silverman, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 10–Oct. 24, 2026\u003c/em>\u003cbr>\u003cem>Jessica Silverman, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s been eight years since Lava Thomas’ last solo exhibition in the Bay Area — the 2018 show \u003cem>\u003ca href=\"https://www.kqed.org/arts/13841129/drawn-out-of-history-lava-thomas-mug-shots-at-rena-bransten-gallery\">Mugshots\u003c/a> \u003c/em>at Rena Bransten Gallery, which featured portraits of women arrested during the Montgomery bus boycott. Now, Thomas has turned to her own family history for her large-scale graphite and Conté crayon drawings. Delicate lines and shading give luminous three-dimensionality to Thomas’ images of her ancestors in post-Emancipation Texas. (Opening upstairs the same night is new work from \u003ca href=\"https://jessicasilvermangallery.com/online-shows/sadie-barnette/\">Sadie Barnette\u003c/a>, whose equally precise drawings include dollops of rainbow-hued color.)\u003c/p>\n",
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"\n\u003cp>It’s been eight years since Lava Thomas’ last solo exhibition in the Bay Area — the 2018 show \u003cem>\u003ca href=\"https://www.kqed.org/arts/13841129/drawn-out-of-history-lava-thomas-mug-shots-at-rena-bransten-gallery\">Mugshots\u003c/a> \u003c/em>at Rena Bransten Gallery, which featured portraits of women arrested during the Montgomery bus boycott. Now, Thomas has turned to her own family history for her large-scale graphite and Conté crayon drawings. Delicate lines and shading give luminous three-dimensionality to Thomas’ images of her ancestors in post-Emancipation Texas. (Opening upstairs the same night is new work from \u003ca href=\"https://jessicasilvermangallery.com/online-shows/sadie-barnette/\">Sadie Barnette\u003c/a>, whose equally precise drawings include dollops of rainbow-hued color.)\u003c/p>\n"
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"alt": "person in Frankenstein monster costume lays on ground with colorful plastic brooms",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-1536x1016.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg\" alt=\"person in Frankenstein monster costume lays on ground with colorful plastic brooms\" class=\"wp-image-13993141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-1536x1016.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Alex Da Corte, ‘Slow Graffiti,’ 2017; video still.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist, KADIST collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg\" alt=\"person in Frankenstein monster costume lays on ground with colorful plastic brooms\" class=\"wp-image-13993141\" />\u003cfigcaption class=\"wp-element-caption\">Alex Da Corte, ‘Slow Graffiti,’ 2017; video still.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist, KADIST collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "‘Character Development’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://minnesotastreetproject.org/character-development\">\u003cstrong>Character Development\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://minnesotastreetproject.org/character-development\">\u003cstrong>Character Development\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 10–Oct. 31, 2026\u003c/em>\u003cbr>\u003cem>1201 Minnesota St., San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 10–Oct. 31, 2026\u003c/em>\u003cbr>\u003cem>1201 Minnesota St., San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>KADIST and the Minnesota Street Project Foundation are teaming up to present video installations by Sophia Al-Maria, Korakrit Arunanondchai, Sara Cwynar, Alex Da Corte, Beatrice Gibson and Martine Syms in the foundation’s cavernous warehouse space. In each piece, the artist appears on-screen in a “guise.” I’ve seen only one of these works — Cwynar’s \u003cem>Baby Blue Benzo\u003c/em>, an elaborately orchestrated video that exposes the artifice of how images are made — but that one alone is worth lining up for. \u003c/p>\n",
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"\n\u003cp>KADIST and the Minnesota Street Project Foundation are teaming up to present video installations by Sophia Al-Maria, Korakrit Arunanondchai, Sara Cwynar, Alex Da Corte, Beatrice Gibson and Martine Syms in the foundation’s cavernous warehouse space. In each piece, the artist appears on-screen in a “guise.” I’ve seen only one of these works — Cwynar’s \u003cem>Baby Blue Benzo\u003c/em>, an elaborately orchestrated video that exposes the artifice of how images are made — but that one alone is worth lining up for. \u003c/p>\n"
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"alt": "two wall-mounted sculptures of architectural objects: a fan vent and a window full of stuff",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg 1899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-1536x1068.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg\" alt=\"two wall-mounted sculptures of architectural objects: a fan vent and a window full of stuff\" class=\"wp-image-13993126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg 1899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-1536x1068.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">L: Malcolm Kenter, ‘Hawk and Fan Intervention,’ 2025; R: ‘Hoarder Window Shadow Box (ode to Distant Cousin Cornell),’ 2026.\u003ccite class=\"wp-inline-image-credit\"> (Saint Mary’s College Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg\" alt=\"two wall-mounted sculptures of architectural objects: a fan vent and a window full of stuff\" class=\"wp-image-13993126\" />\u003cfigcaption class=\"wp-element-caption\">L: Malcolm Kenter, ‘Hawk and Fan Intervention,’ 2025; R: ‘Hoarder Window Shadow Box (ode to Distant Cousin Cornell),’ 2026.\u003ccite class=\"wp-inline-image-credit\"> (Saint Mary’s College Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "Malcolm W. Kenter, ‘Synechdoche’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Malcolm W. Kenter, ‘Synechdoche’\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Malcolm W. Kenter, ‘Synechdoche’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 16–Dec. 13, 2026\u003cbr>\u003ca href=\"https://www.stmarys-ca.edu/museum-art\">St. Mary’s College Museum of Art\u003c/a>, Moraga\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 16–Dec. 13, 2026\u003cbr>\u003ca href=\"https://www.stmarys-ca.edu/museum-art\">St. Mary’s College Museum of Art\u003c/a>, Moraga\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Malcolm Kenter, a whiz at creating homages to utilitarian and underappreciated facets of the urban environment, will show a decade of his work in his first museum solo show. Kenter takes a variety of material approaches in his work: needlepoint, miniatures, life-sized replicas of architectural features. In all these forms, you can see Kenter’s appreciation for the accumulation of history, building styles and daily grime that gives San Francisco its essential, beautiful character. \u003c/p>\n",
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"\n\u003cp>Malcolm Kenter, a whiz at creating homages to utilitarian and underappreciated facets of the urban environment, will show a decade of his work in his first museum solo show. Kenter takes a variety of material approaches in his work: needlepoint, miniatures, life-sized replicas of architectural features. In all these forms, you can see Kenter’s appreciation for the accumulation of history, building styles and daily grime that gives San Francisco its essential, beautiful character. \u003c/p>\n"
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"attrs": {
"id": 13993127,
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"linkDestination": "none",
"alt": "old advertisement in French for photosculpture",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-1536x1067.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg\" alt=\"old advertisement in French for photosculpture\" class=\"wp-image-13993127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-1536x1067.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">A. Van Geleyn, ‘Photosculpture. Sculpture d’après nature obetenue mécaniquement. Dix secondes de pose,’ 1865; Lithograph.\u003ccite class=\"wp-inline-image-credit\"> (Bibliothèque nationale de France)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg\" alt=\"old advertisement in French for photosculpture\" class=\"wp-image-13993127\" />\u003cfigcaption class=\"wp-element-caption\">A. Van Geleyn, ‘Photosculpture. Sculpture d’après nature obetenue mécaniquement. Dix secondes de pose,’ 1865; Lithograph.\u003ccite class=\"wp-inline-image-credit\"> (Bibliothèque nationale de France)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "‘Solid Pictures: Photosculpture and the Making of Modern Likeness’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://museum.stanford.edu/exhibitions/solid-pictures\">\u003cstrong>Solid Pictures: Photosculpture and the Making of Modern Likeness\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://museum.stanford.edu/exhibitions/solid-pictures\">\u003cstrong>Solid Pictures: Photosculpture and the Making of Modern Likeness\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 17, 2026–Jan. 18, 2027 \u003c/em>\u003cbr>\u003cem>Cantor Arts Center, Stanford\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 17, 2026–Jan. 18, 2027 \u003c/em>\u003cbr>\u003cem>Cantor Arts Center, Stanford\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>In 1859, long before we had 3D scanning and printing, a 29-year-old French artist and inventor came up with a means to translate photographs into solid objects. These photosculptures were an attempt to make portraiture more affordable for a growing middle class. Ultimately, the technology didn’t take off — it’s hard to be ahead of one’s time. But that means we’ll have even more to learn from the first major exhibition of this strange, hybrid approach to capturing likenesses.\u003c/p>\n",
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"\n\u003cp>In 1859, long before we had 3D scanning and printing, a 29-year-old French artist and inventor came up with a means to translate photographs into solid objects. These photosculptures were an attempt to make portraiture more affordable for a growing middle class. Ultimately, the technology didn’t take off — it’s hard to be ahead of one’s time. But that means we’ll have even more to learn from the first major exhibition of this strange, hybrid approach to capturing likenesses.\u003c/p>\n"
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"attrs": {
"id": 13993120,
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"alt": "multicolored and textured textile with the word YES in the lower right corner",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-768x512.jpg 768w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg\" alt=\"multicolored and textured textile with the word YES in the lower right corner\" class=\"wp-image-13993120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-768x512.jpg 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Terri Friedman, ‘Yes. Yes.’ 2022; Wool, cotton, acrylic, hemp, metallic, chenille fibers.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg\" alt=\"multicolored and textured textile with the word YES in the lower right corner\" class=\"wp-image-13993120\" />\u003cfigcaption class=\"wp-element-caption\">Terri Friedman, ‘Yes. Yes.’ 2022; Wool, cotton, acrylic, hemp, metallic, chenille fibers.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"blockName": "core/heading",
"attrs": {
"text": "‘Live the moment light’ ",
"level": 2
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.paloalto.gov/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center/See-Art/Exhibitions/Upcoming\">\u003cstrong>Live the moment light\u003c/strong>\u003c/a>\u003cstrong>’ \u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.paloalto.gov/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center/See-Art/Exhibitions/Upcoming\">\u003cstrong>Live the moment light\u003c/strong>\u003c/a>\u003cstrong>’ \u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 19–Dec. 13, 2026 \u003c/em>\u003cbr>\u003cem>Palo Alto Art Center\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 19–Dec. 13, 2026 \u003c/em>\u003cbr>\u003cem>Palo Alto Art Center\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This show, curated by Christine Koppes, gathers work by Solée Darrell, Terri Friedman and Angelica Trimble-Yanu to trace the influence of Corita Kent, the artist and one-time nun whose bright colors and lessons on curious, close looking have shaped generations. The pleasure in this one will be seeing how Kent’s work interacts with Darrell’s dye on velvet paintings, Friedman’s kaleidoscopic textiles and Trimble-Yanu’s monochrome prints. \u003c/p>\n",
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"\n\u003cp>This show, curated by Christine Koppes, gathers work by Solée Darrell, Terri Friedman and Angelica Trimble-Yanu to trace the influence of Corita Kent, the artist and one-time nun whose bright colors and lessons on curious, close looking have shaped generations. The pleasure in this one will be seeing how Kent’s work interacts with Darrell’s dye on velvet paintings, Friedman’s kaleidoscopic textiles and Trimble-Yanu’s monochrome prints. \u003c/p>\n"
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"alt": "dynamic painting of containers falling into ocean from cargo ship",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-768x671.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-1536x1342.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg\" alt=\"dynamic painting of containers falling into ocean from cargo ship\" class=\"wp-image-13993121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-768x671.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-1536x1342.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Dewey Crumpler, ‘Breach,’ 2023; Acrylic and metal leaf on canvas.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist and Jenkins Johnson Gallery New York and San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg\" alt=\"dynamic painting of containers falling into ocean from cargo ship\" class=\"wp-image-13993121\" />\u003cfigcaption class=\"wp-element-caption\">Dewey Crumpler, ‘Breach,’ 2023; Acrylic and metal leaf on canvas.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist and Jenkins Johnson Gallery New York and San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "Nexus: SF/Bay Area Black Art Week ",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.nexus-sfbay.com/\">\u003cstrong>Nexus: SF/Bay Area Black Art Week\u003c/strong>\u003c/a>\u003cstrong> \u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.nexus-sfbay.com/\">\u003cstrong>Nexus: SF/Bay Area Black Art Week\u003c/strong>\u003c/a>\u003cstrong> \u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 30–Oct. 4, 2026\u003c/em>\u003cbr>\u003cem>Various locations\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 30–Oct. 4, 2026\u003c/em>\u003cbr>\u003cem>Various locations\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The third edition of Black Art Week, founded by the Museum of African Diaspora, packs a dense schedule of talks, shows, open studios, screenings and parties into spaces all around the Bay. Not to miss: Dewey Crumpler’s \u003ca href=\"https://www.moadsf.org/exhibitions/dewey-crumpler-sonic-lineages\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at MoAD; Dread Scott’s \u003ca href=\"https://ybca.org/yerba-buena-center-for-the-arts-announces-upcoming-season-of-exhibitions-and-programs-for-2026/\">\u003cem>The Body Politic\u003c/em>\u003c/a> at Yerba Buena Center for the Arts; and what’s sure to be an excellent conversation between \u003ca href=\"https://nexus2026a.sched.com/event/2VOLi/open-studio-x-artist-talk-ashara-ekundayo-in-conversation-with-emory-douglas?iframe=no\">Emory Douglas and Ashara Ekundayo\u003c/a> at Minnesota Street Project. \u003c/p>\n",
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"\n\u003cp>The third edition of Black Art Week, founded by the Museum of African Diaspora, packs a dense schedule of talks, shows, open studios, screenings and parties into spaces all around the Bay. Not to miss: Dewey Crumpler’s \u003ca href=\"https://www.moadsf.org/exhibitions/dewey-crumpler-sonic-lineages\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at MoAD; Dread Scott’s \u003ca href=\"https://ybca.org/yerba-buena-center-for-the-arts-announces-upcoming-season-of-exhibitions-and-programs-for-2026/\">\u003cem>The Body Politic\u003c/em>\u003c/a> at Yerba Buena Center for the Arts; and what’s sure to be an excellent conversation between \u003ca href=\"https://nexus2026a.sched.com/event/2VOLi/open-studio-x-artist-talk-ashara-ekundayo-in-conversation-with-emory-douglas?iframe=no\">Emory Douglas and Ashara Ekundayo\u003c/a> at Minnesota Street Project. \u003c/p>\n"
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"alt": "green glowing woman looks astonished, two red glowing women missing one eye flank her",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-1536x960.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg\" alt=\"green glowing woman looks astonished, two red glowing women missing one eye flank her\" class=\"wp-image-13993113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-1536x960.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">A still from Daviel Shy’s ‘After the Pleasure Dome,’ 2026.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg\" alt=\"green glowing woman looks astonished, two red glowing women missing one eye flank her\" class=\"wp-image-13993113\" />\u003cfigcaption class=\"wp-element-caption\">A still from Daviel Shy’s ‘After the Pleasure Dome,’ 2026.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "‘Sideways Glance’",
"level": 2
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.slashart.org/sideways-glance/\">\u003cstrong>Sideways Glance\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.slashart.org/sideways-glance/\">\u003cstrong>Sideways Glance\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 3, 2026–Feb. 20, 2027\u003c/em>\u003cbr>\u003cem>Slash, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 3, 2026–Feb. 20, 2027\u003c/em>\u003cbr>\u003cem>Slash, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>We are \u003cem>rich\u003c/em> in interestingly framed group exhibitions this fall. This one focuses on artists exploring the lesbian body, feminist practices and work that has a physical effect on the viewer. Curator Elena Gross pulls together installation, sculpture and video from Alexa Burrell, Sienna Freeman, Daviel Shy and the late Barbara Hammer (subject of a recent, fantastic documentary, \u003ca href=\"https://bampfa.org/event/barbara-forever\">\u003cem>Barbara Forever\u003c/em>\u003c/a>). “In the act of a woman looking at a woman, specificity is introduced,” Shy writes in \u003ca href=\"https://medium.com/@davielshy/women-seeing-women-c29fc53e2f82\">the essay\u003c/a> that lends this show its name. “Once there are two women in the equation, neither can be \u003cem>the\u003c/em> symbol of woman.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>We are \u003cem>rich\u003c/em> in interestingly framed group exhibitions this fall. This one focuses on artists exploring the lesbian body, feminist practices and work that has a physical effect on the viewer. Curator Elena Gross pulls together installation, sculpture and video from Alexa Burrell, Sienna Freeman, Daviel Shy and the late Barbara Hammer (subject of a recent, fantastic documentary, \u003ca href=\"https://bampfa.org/event/barbara-forever\">\u003cem>Barbara Forever\u003c/em>\u003c/a>). “In the act of a woman looking at a woman, specificity is introduced,” Shy writes in \u003ca href=\"https://medium.com/@davielshy/women-seeing-women-c29fc53e2f82\">the essay\u003c/a> that lends this show its name. “Once there are two women in the equation, neither can be \u003cem>the\u003c/em> symbol of woman.”\u003c/p>\n"
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"attrs": {
"id": 13993191,
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"alt": "black and white photo of children playing on soft curved gloopy shaped sculpture",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg 1926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-1536x1235.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg\" alt=\"black and white photo of children playing on soft curved gloopy shaped sculpture\" class=\"wp-image-13993191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg 1926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-1536x1235.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">Robert Winson’s ‘Oakland Monster’ play sculpture at Lake Merritt, designed in 1952.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy Oakland Public Library, Oakland History Room)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg\" alt=\"black and white photo of children playing on soft curved gloopy shaped sculpture\" class=\"wp-image-13993191\" />\u003cfigcaption class=\"wp-element-caption\">Robert Winson’s ‘Oakland Monster’ play sculpture at Lake Merritt, designed in 1952.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy Oakland Public Library, Oakland History Room)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "Lake Merritt Tour Day",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.docomomo-noca.org/more-news/2026/1/22/tourday-2026?rq=lake%20merritt\">\u003cstrong>Lake Merritt Tour Day\u003c/strong>\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.docomomo-noca.org/more-news/2026/1/22/tourday-2026?rq=lake%20merritt\">\u003cstrong>Lake Merritt Tour Day\u003c/strong>\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 10, 2026\u003c/em>\u003cbr>\u003cem>Lake Merritt, Oakland\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 10, 2026\u003c/em>\u003cbr>\u003cem>Lake Merritt, Oakland\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This event comes from the wonderfully acronymed \u003ca href=\"https://www.docomomo-noca.org/mission-history\">Docomomo\u003c/a>, an international organization committed to documenting and conserving sites associated with the modern architecture movement. As part of a national tour day devoted to recreation and play, our local chapter will lead a walk around Lake Merritt to point out the park pavilions, boathouses, playgrounds and athletic facilities that contribute to the lake’s public space. Anticipate thoughts on how this landscape has shifted over time and who gets to access it. \u003c/p>\n",
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"\n\u003cp>This event comes from the wonderfully acronymed \u003ca href=\"https://www.docomomo-noca.org/mission-history\">Docomomo\u003c/a>, an international organization committed to documenting and conserving sites associated with the modern architecture movement. As part of a national tour day devoted to recreation and play, our local chapter will lead a walk around Lake Merritt to point out the park pavilions, boathouses, playgrounds and athletic facilities that contribute to the lake’s public space. Anticipate thoughts on how this landscape has shifted over time and who gets to access it. \u003c/p>\n"
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"innerHTML": "\n\u003cp>(If you can’t wait until October, and have a penchant for brutalism, there’s a Docomomo tour of the \u003ca href=\"https://www.docomomo-noca.org/events/2026/9/12/modernism-born-in-california-transit-landscape-and-glen-park-bart-brutalism-tour\">Glen Park BART station\u003c/a> on Sept. 12.) \u003c/p>\n",
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"\n\u003cp>(If you can’t wait until October, and have a penchant for brutalism, there’s a Docomomo tour of the \u003ca href=\"https://www.docomomo-noca.org/events/2026/9/12/modernism-born-in-california-transit-landscape-and-glen-park-bart-brutalism-tour\">Glen Park BART station\u003c/a> on Sept. 12.) \u003c/p>\n"
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"attrs": {
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"alt": "stuffed textile works of women sitting or reclining, melding into furniture",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-1536x1216.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg\" alt=\"stuffed textile works of women sitting or reclining, melding into furniture\" class=\"wp-image-13993133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-1536x1216.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">A undated photograph of Paul Harris’ fabric and cloth sculptures in the artist’s studio in Bolinas.\u003ccite class=\"wp-inline-image-credit\"> (Paul Harris / Marguerite Kirk Harris Survivor’s Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg\" alt=\"stuffed textile works of women sitting or reclining, melding into furniture\" class=\"wp-image-13993133\" />\u003cfigcaption class=\"wp-element-caption\">A undated photograph of Paul Harris’ fabric and cloth sculptures in the artist’s studio in Bolinas.\u003ccite class=\"wp-inline-image-credit\"> (Paul Harris / Marguerite Kirk Harris Survivor’s Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 31, 2026–Jan. 3, 2027\u003c/em>\u003cbr>\u003cem>\u003ca href=\"https://bolinasmuseum.org/\">Bolinas Museum\u003c/a>\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 31, 2026–Jan. 3, 2027\u003c/em>\u003cbr>\u003cem>\u003ca href=\"https://bolinasmuseum.org/\">Bolinas Museum\u003c/a>\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The Bolinas Museum is on a roll. It just opened a show of \u003ca href=\"https://bolinasmuseum.org/exhibitions/all-this-every-day-bolinas-community-publishing-in-the-seventies/\">community publishing\u003c/a> from the ’70s (including the town’s own take on the Yellow Pages, on view through Sept. 27) and it will soon mount a retrospective exhibition of the late Bolinas resident Paul Harris. The onetime California College of the Arts professor produced work in a variety of mediums, but his most unique format has to be his stuffed textile pieces, which merged figures with furniture. Organized by the artist’s estate, the show sounds possibly bigger than Bolinas itself, with nearly 40 works and an accompanying catalog.\u003c/p>\n",
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"\n\u003cp>The Bolinas Museum is on a roll. It just opened a show of \u003ca href=\"https://bolinasmuseum.org/exhibitions/all-this-every-day-bolinas-community-publishing-in-the-seventies/\">community publishing\u003c/a> from the ’70s (including the town’s own take on the Yellow Pages, on view through Sept. 27) and it will soon mount a retrospective exhibition of the late Bolinas resident Paul Harris. The onetime California College of the Arts professor produced work in a variety of mediums, but his most unique format has to be his stuffed textile pieces, which merged figures with furniture. Organized by the artist’s estate, the show sounds possibly bigger than Bolinas itself, with nearly 40 works and an accompanying catalog.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b.jpg\" alt=\"swirling lines and shapes in architectural space, small figures point up\" class=\"wp-image-13993136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-1536x1123.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of Sarah Sze’s ‘Forever is Composed of Nows’ in the SFMOMA atrium.\u003ccite class=\"wp-inline-image-credit\"> (Sarah Sze Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Sarah Sze, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/sarah-sze/\">Forever is Composed of Nows\u003c/a>’\u003c/strong> \u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>Nov. 21, 2026–ongoing \u003c/em>\u003cbr>\u003cem>San Francisco Museum of Modern Art\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Nov. 21, 2026–ongoing \u003c/em>\u003cbr>\u003cem>San Francisco Museum of Modern Art\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>For some reason, I thought the Julie Mehretu paintings that currently flank the main staircase inside SFMOMA’s Third Street entrance were a permanent fixture. Not so! Sarah Sze, known for her dazzling, complex installations of small, colorful objects, has been commissioned to create a new piece for the atrium. Created with accessibility in mind, the work includes video projections, three monumental paintings and a “rhythmic, pulsating soundscape.” (We hope, for the sake of SFMOMA staffers at the coat check, that the sound levels are conducive to long-term exposure.)\u003c/p>\n",
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"\n\u003cp>For some reason, I thought the Julie Mehretu paintings that currently flank the main staircase inside SFMOMA’s Third Street entrance were a permanent fixture. Not so! Sarah Sze, known for her dazzling, complex installations of small, colorful objects, has been commissioned to create a new piece for the atrium. Created with accessibility in mind, the work includes video projections, three monumental paintings and a “rhythmic, pulsating soundscape.” (We hope, for the sake of SFMOMA staffers at the coat check, that the sound levels are conducive to long-term exposure.)\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag.jpg\" alt=\"linocut of black cats holding signs\" class=\"wp-image-13993123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag-768x582.jpg 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\u003cfigcaption class=\"wp-element-caption\">A work by Dorian Reid, ‘Black Cat Power.’\u003ccite class=\"wp-inline-image-credit\"> (Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"text": "Other things to look forward to this fall",
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"innerHTML": "\n\u003cp>\u003cstrong>September\u003c/strong>: Masaki Fujihata’s \u003ca href=\"https://museumca.org/on-view/behere-1942-a-new-lens-on-the-japanese-american-incarceration/\">\u003cem>BeHere / 1942: A New Lens on the Japanese American Incarceration\u003c/em>\u003c/a> at OMCA; Dorian Reid’s \u003ca href=\"https://www.moadsf.org/exhibitions/calling-all-cats\">\u003cem>Calling All Cats!\u003c/em>\u003c/a> at MoAD; the group exhibition \u003ca href=\"https://www.berkeleyartcenter.org/i-see-every-wave\">\u003cem>I see every wave\u003c/em>\u003c/a> at the Berkeley Art Center; \u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/gregito-togiveandtake/\">Greg Ito’s solo show\u003c/a> at the ICA San José.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>September\u003c/strong>: Masaki Fujihata’s \u003ca href=\"https://museumca.org/on-view/behere-1942-a-new-lens-on-the-japanese-american-incarceration/\">\u003cem>BeHere / 1942: A New Lens on the Japanese American Incarceration\u003c/em>\u003c/a> at OMCA; Dorian Reid’s \u003ca href=\"https://www.moadsf.org/exhibitions/calling-all-cats\">\u003cem>Calling All Cats!\u003c/em>\u003c/a> at MoAD; the group exhibition \u003ca href=\"https://www.berkeleyartcenter.org/i-see-every-wave\">\u003cem>I see every wave\u003c/em>\u003c/a> at the Berkeley Art Center; \u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/gregito-togiveandtake/\">Greg Ito’s solo show\u003c/a> at the ICA San José.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>October:\u003c/strong> an unobstructed view of the Ferry Building, when the giant lady is finally deinstalled; Leila Weefur’s \u003ca href=\"https://www.thelab.org/projects/2026/10/9/leila-weefur-the-chapel-of-becoming\">\u003cem>The Chapel of Becoming\u003c/em>\u003c/a> at the Lab.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>October:\u003c/strong> an unobstructed view of the Ferry Building, when the giant lady is finally deinstalled; Leila Weefur’s \u003ca href=\"https://www.thelab.org/projects/2026/10/9/leila-weefur-the-chapel-of-becoming\">\u003cem>The Chapel of Becoming\u003c/em>\u003c/a> at the Lab.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>November:\u003c/strong> the \u003ca href=\"https://www.indexical.org/events/2026-11-14-within-mirrors-films-of-paul-clipson\">films of Paul Clipson\u003c/a>, screening at Indexical in Santa Cruz.\u003c/p>\n",
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"excerpt": "On the list: a first museum solo, the third annual Black Art Week and an architectural tour of Lake Merritt.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Be sure to check out our full \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2026\">\u003cem>2026 Fall Arts Guide\u003c/em>\u003c/a> \u003cem>to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/p>\n\n\n\n\u003cp>I’ll be honest with you: making this list is hard. There’s simply too much great stuff going on in the Bay Area’s visual arts scene to do it justice in 10 or so blurbs. \u003c/p>\n\n\n\n\u003cp>In just the next three months, we’ve got the Richmond Art Center turning 90 years old (and \u003ca href=\"https://richmondartcenter.org/events/90th-birthday-party-8-29-26/\">celebrating accordingly\u003c/a>). We’ve got \u003ca href=\"https://www.kqed.org/arts/13992388/rm-bts-sfmoma-ticket-alert\">RM of BTS\u003c/a> co-curating a truly good-looking show at the San Francisco Museum of Modern Art. And we’ve got a gloriously packed third annual \u003ca href=\"https://www.nexus-sfbay.com/\">Black Art Week\u003c/a>, led by the Museum of the African Diaspora.\u003c/p>\n\n\n\n\u003cp>The arts community has been \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">through\u003c/a> \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">a lot\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13992653/sf-camerawork-nonprofit-photo-gallery-closing-fort-mason-center\">this year\u003c/a>. And while few of us have the funds or the power to single-handedly save our arts institutions from obsolescence, we \u003cem>can\u003c/em> go to things. We can show up at talks, screenings, openings and walks. Because sometimes the difference between something existing and something ceasing to be is an enthusiastic crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1310\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg\" alt=\"colorful wacky shaped table lamp with blue shade, blown glass vase with stars and stripes\" class=\"wp-image-13993101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/ObjectsUSA_NgoMarquis-768x489.jpg 768w\" sizes=\"auto, (max-width: 1310px) 100vw, 1310px\" />\u003cfigcaption class=\"wp-element-caption\">L: A lamp by Jolie Ngo, one of the contemporary artists in ‘OBJECTS: USA’; R: A glass vase by Richard Marquis, one of the original artists from the 1969 presentation. (Museum of Craft and Design)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://sfmcd.org/exhibitions/objects-usa/\">\u003cstrong>OBJECTS: USA\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 5, 2026–Jan. 17, 2027\u003c/em>\u003cbr>\u003cem>Museum of Craft and Design, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>I have a distinct memory of a book with this title existing on my parents’ coffee table. Turns out it was the catalog of a landmark 1969 Smithsonian exhibition on the previously un-exalted subject of American studio craft. Revisiting this premise nearly 60 years later, R & Company, a New York design gallery, has organized an exhibition that features artists from the original show, as well as a roster of contemporary artists working with clay, fiber, glass, metal, wood, enamel, mosaic and more. A must-see for fans of funky materials, lively interiors and colorful objets d’art. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg\" alt=\"graphite portrait of Black woman in diamond-shaped frame\" class=\"wp-image-13993124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Thomas_Unnamed-but-Not-Unknown-II-Promise-2026_LTH0123DR_John-Janca_2000-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Lava Thomas, ‘Unnamed but Not Unknown II (Promise),’ 2026. (Jessica Silverman Gallery)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Lava Thomas, ‘\u003c/strong>\u003ca href=\"https://jessicasilvermangallery.com/online-shows/lava-thomas/\">\u003cstrong>Lineage\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–Oct. 24, 2026\u003c/em>\u003cbr>\u003cem>Jessica Silverman, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>It’s been eight years since Lava Thomas’ last solo exhibition in the Bay Area — the 2018 show \u003cem>\u003ca href=\"https://www.kqed.org/arts/13841129/drawn-out-of-history-lava-thomas-mug-shots-at-rena-bransten-gallery\">Mugshots\u003c/a> \u003c/em>at Rena Bransten Gallery, which featured portraits of women arrested during the Montgomery bus boycott. Now, Thomas has turned to her own family history for her large-scale graphite and Conté crayon drawings. Delicate lines and shading give luminous three-dimensionality to Thomas’ images of her ancestors in post-Emancipation Texas. (Opening upstairs the same night is new work from \u003ca href=\"https://jessicasilvermangallery.com/online-shows/sadie-barnette/\">Sadie Barnette\u003c/a>, whose equally precise drawings include dollops of rainbow-hued color.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg\" alt=\"person in Frankenstein monster costume lays on ground with colorful plastic brooms\" class=\"wp-image-13993141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/CD_DaCorte_2000-1536x1016.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Alex Da Corte, ‘Slow Graffiti,’ 2017; video still. (Courtesy of the artist, KADIST collection)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://minnesotastreetproject.org/character-development\">\u003cstrong>Character Development\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–Oct. 31, 2026\u003c/em>\u003cbr>\u003cem>1201 Minnesota St., San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>KADIST and the Minnesota Street Project Foundation are teaming up to present video installations by Sophia Al-Maria, Korakrit Arunanondchai, Sara Cwynar, Alex Da Corte, Beatrice Gibson and Martine Syms in the foundation’s cavernous warehouse space. In each piece, the artist appears on-screen in a “guise.” I’ve seen only one of these works — Cwynar’s \u003cem>Baby Blue Benzo\u003c/em>, an elaborately orchestrated video that exposes the artifice of how images are made — but that one alone is worth lining up for. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1899\" height=\"1320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg\" alt=\"two wall-mounted sculptures of architectural objects: a fan vent and a window full of stuff\" class=\"wp-image-13993126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo.jpg 1899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Kentercombo-1536x1068.jpg 1536w\" sizes=\"auto, (max-width: 1899px) 100vw, 1899px\" />\u003cfigcaption class=\"wp-element-caption\">L: Malcolm Kenter, ‘Hawk and Fan Intervention,’ 2025; R: ‘Hoarder Window Shadow Box (ode to Distant Cousin Cornell),’ 2026. (Saint Mary’s College Museum of Art)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Malcolm W. Kenter, ‘Synechdoche’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 16–Dec. 13, 2026\u003cbr>\u003ca href=\"https://www.stmarys-ca.edu/museum-art\">St. Mary’s College Museum of Art\u003c/a>, Moraga\u003c/em>\u003c/p>\n\n\n\n\u003cp>Malcolm Kenter, a whiz at creating homages to utilitarian and underappreciated facets of the urban environment, will show a decade of his work in his first museum solo show. Kenter takes a variety of material approaches in his work: needlepoint, miniatures, life-sized replicas of architectural features. In all these forms, you can see Kenter’s appreciation for the accumulation of history, building styles and daily grime that gives San Francisco its essential, beautiful character. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg\" alt=\"old advertisement in French for photosculpture\" class=\"wp-image-13993127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Photosculpture_2000-1536x1067.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A. Van Geleyn, ‘Photosculpture. Sculpture d’après nature obetenue mécaniquement. Dix secondes de pose,’ 1865; Lithograph. (Bibliothèque nationale de France)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://museum.stanford.edu/exhibitions/solid-pictures\">\u003cstrong>Solid Pictures: Photosculpture and the Making of Modern Likeness\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 17, 2026–Jan. 18, 2027 \u003c/em>\u003cbr>\u003cem>Cantor Arts Center, Stanford\u003c/em>\u003c/p>\n\n\n\n\u003cp>In 1859, long before we had 3D scanning and printing, a 29-year-old French artist and inventor came up with a means to translate photographs into solid objects. These photosculptures were an attempt to make portraiture more affordable for a growing middle class. Ultimately, the technology didn’t take off — it’s hard to be ahead of one’s time. But that means we’ll have even more to learn from the first major exhibition of this strange, hybrid approach to capturing likenesses.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg\" alt=\"multicolored and textured textile with the word YES in the lower right corner\" class=\"wp-image-13993120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Friedman_PaloAlto-768x512.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">Terri Friedman, ‘Yes. Yes.’ 2022; Wool, cotton, acrylic, hemp, metallic, chenille fibers. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.paloalto.gov/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center/See-Art/Exhibitions/Upcoming\">\u003cstrong>Live the moment light\u003c/strong>\u003c/a>\u003cstrong>’ \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19–Dec. 13, 2026 \u003c/em>\u003cbr>\u003cem>Palo Alto Art Center\u003c/em>\u003c/p>\n\n\n\n\u003cp>This show, curated by Christine Koppes, gathers work by Solée Darrell, Terri Friedman and Angelica Trimble-Yanu to trace the influence of Corita Kent, the artist and one-time nun whose bright colors and lessons on curious, close looking have shaped generations. The pleasure in this one will be seeing how Kent’s work interacts with Darrell’s dye on velvet paintings, Friedman’s kaleidoscopic textiles and Trimble-Yanu’s monochrome prints. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1747\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg\" alt=\"dynamic painting of containers falling into ocean from cargo ship\" class=\"wp-image-13993121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-768x671.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/web-Crumpler-07-26-125-1536x1342.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Dewey Crumpler, ‘Breach,’ 2023; Acrylic and metal leaf on canvas. (Courtesy of the artist and Jenkins Johnson Gallery New York and San Francisco)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.nexus-sfbay.com/\">\u003cstrong>Nexus: SF/Bay Area Black Art Week\u003c/strong>\u003c/a>\u003cstrong> \u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 30–Oct. 4, 2026\u003c/em>\u003cbr>\u003cem>Various locations\u003c/em>\u003c/p>\n\n\n\n\u003cp>The third edition of Black Art Week, founded by the Museum of African Diaspora, packs a dense schedule of talks, shows, open studios, screenings and parties into spaces all around the Bay. Not to miss: Dewey Crumpler’s \u003ca href=\"https://www.moadsf.org/exhibitions/dewey-crumpler-sonic-lineages\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at MoAD; Dread Scott’s \u003ca href=\"https://ybca.org/yerba-buena-center-for-the-arts-announces-upcoming-season-of-exhibitions-and-programs-for-2026/\">\u003cem>The Body Politic\u003c/em>\u003c/a> at Yerba Buena Center for the Arts; and what’s sure to be an excellent conversation between \u003ca href=\"https://nexus2026a.sched.com/event/2VOLi/open-studio-x-artist-talk-ashara-ekundayo-in-conversation-with-emory-douglas?iframe=no\">Emory Douglas and Ashara Ekundayo\u003c/a> at Minnesota Street Project. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg\" alt=\"green glowing woman looks astonished, two red glowing women missing one eye flank her\" class=\"wp-image-13993113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Daviel_2000-1536x960.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A still from Daviel Shy’s ‘After the Pleasure Dome,’ 2026. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003c/strong>\u003ca href=\"https://www.slashart.org/sideways-glance/\">\u003cstrong>Sideways Glance\u003c/strong>\u003c/a>\u003cstrong>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 3, 2026–Feb. 20, 2027\u003c/em>\u003cbr>\u003cem>Slash, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>We are \u003cem>rich\u003c/em> in interestingly framed group exhibitions this fall. This one focuses on artists exploring the lesbian body, feminist practices and work that has a physical effect on the viewer. Curator Elena Gross pulls together installation, sculpture and video from Alexa Burrell, Sienna Freeman, Daviel Shy and the late Barbara Hammer (subject of a recent, fantastic documentary, \u003ca href=\"https://bampfa.org/event/barbara-forever\">\u003cem>Barbara Forever\u003c/em>\u003c/a>). “In the act of a woman looking at a woman, specificity is introduced,” Shy writes in \u003ca href=\"https://medium.com/@davielshy/women-seeing-women-c29fc53e2f82\">the essay\u003c/a> that lends this show its name. “Once there are two women in the equation, neither can be \u003cem>the\u003c/em> symbol of woman.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1926\" height=\"1548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg\" alt=\"black and white photo of children playing on soft curved gloopy shaped sculpture\" class=\"wp-image-13993191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room.jpg 1926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/Oakland-Monster-by-Robert-Winston.-Courtesy-Oakland-Public-Library-Oakland-History-Room-1536x1235.jpg 1536w\" sizes=\"auto, (max-width: 1926px) 100vw, 1926px\" />\u003cfigcaption class=\"wp-element-caption\">Robert Winson’s ‘Oakland Monster’ play sculpture at Lake Merritt, designed in 1952. (Courtesy Oakland Public Library, Oakland History Room)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.docomomo-noca.org/more-news/2026/1/22/tourday-2026?rq=lake%20merritt\">\u003cstrong>Lake Merritt Tour Day\u003c/strong>\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 10, 2026\u003c/em>\u003cbr>\u003cem>Lake Merritt, Oakland\u003c/em>\u003c/p>\n\n\n\n\u003cp>This event comes from the wonderfully acronymed \u003ca href=\"https://www.docomomo-noca.org/mission-history\">Docomomo\u003c/a>, an international organization committed to documenting and conserving sites associated with the modern architecture movement. As part of a national tour day devoted to recreation and play, our local chapter will lead a walk around Lake Merritt to point out the park pavilions, boathouses, playgrounds and athletic facilities that contribute to the lake’s public space. Anticipate thoughts on how this landscape has shifted over time and who gets to access it. \u003c/p>\n\n\n\n\u003cp>(If you can’t wait until October, and have a penchant for brutalism, there’s a Docomomo tour of the \u003ca href=\"https://www.docomomo-noca.org/events/2026/9/12/modernism-born-in-california-transit-landscape-and-glen-park-bart-brutalism-tour\">Glen Park BART station\u003c/a> on Sept. 12.) \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg\" alt=\"stuffed textile works of women sitting or reclining, melding into furniture\" class=\"wp-image-13993133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/PaulHarris_2000-1536x1216.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A undated photograph of Paul Harris’ fabric and cloth sculptures in the artist’s studio in Bolinas. (Paul Harris / Marguerite Kirk Harris Survivor’s Trust)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Paul Harris, ‘The Boy Sews Like An Angel’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 31, 2026–Jan. 3, 2027\u003c/em>\u003cbr>\u003cem>\u003ca href=\"https://bolinasmuseum.org/\">Bolinas Museum\u003c/a>\u003c/em>\u003c/p>\n\n\n\n\u003cp>The Bolinas Museum is on a roll. It just opened a show of \u003ca href=\"https://bolinasmuseum.org/exhibitions/all-this-every-day-bolinas-community-publishing-in-the-seventies/\">community publishing\u003c/a> from the ’70s (including the town’s own take on the Yellow Pages, on view through Sept. 27) and it will soon mount a retrospective exhibition of the late Bolinas resident Paul Harris. The onetime California College of the Arts professor produced work in a variety of mediums, but his most unique format has to be his stuffed textile pieces, which merged figures with furniture. Organized by the artist’s estate, the show sounds possibly bigger than Bolinas itself, with nearly 40 works and an accompanying catalog.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b.jpg\" alt=\"swirling lines and shapes in architectural space, small figures point up\" class=\"wp-image-13993136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/SarahSze_2000b-1536x1123.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of Sarah Sze’s ‘Forever is Composed of Nows’ in the SFMOMA atrium. (Sarah Sze Studio)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Sarah Sze, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/sarah-sze/\">Forever is Composed of Nows\u003c/a>’\u003c/strong> \u003c/h2>\n\n\n\n\u003cp>\u003cem>Nov. 21, 2026–ongoing \u003c/em>\u003cbr>\u003cem>San Francisco Museum of Modern Art\u003c/em>\u003c/p>\n\n\n\n\u003cp>For some reason, I thought the Julie Mehretu paintings that currently flank the main staircase inside SFMOMA’s Third Street entrance were a permanent fixture. Not so! Sarah Sze, known for her dazzling, complex installations of small, colorful objects, has been commissioned to create a new piece for the atrium. Created with accessibility in mind, the work includes video projections, three monumental paintings and a “rhythmic, pulsating soundscape.” (We hope, for the sake of SFMOMA staffers at the coat check, that the sound levels are conducive to long-term exposure.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag.jpg\" alt=\"linocut of black cats holding signs\" class=\"wp-image-13993123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/08/F0514_Reid_BlackCatPowerFlag-768x582.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">A work by Dorian Reid, ‘Black Cat Power.’ (Museum of the African Diaspora)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Other things to look forward to this fall\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>September\u003c/strong>: Masaki Fujihata’s \u003ca href=\"https://museumca.org/on-view/behere-1942-a-new-lens-on-the-japanese-american-incarceration/\">\u003cem>BeHere / 1942: A New Lens on the Japanese American Incarceration\u003c/em>\u003c/a> at OMCA; Dorian Reid’s \u003ca href=\"https://www.moadsf.org/exhibitions/calling-all-cats\">\u003cem>Calling All Cats!\u003c/em>\u003c/a> at MoAD; the group exhibition \u003ca href=\"https://www.berkeleyartcenter.org/i-see-every-wave\">\u003cem>I see every wave\u003c/em>\u003c/a> at the Berkeley Art Center; \u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/gregito-togiveandtake/\">Greg Ito’s solo show\u003c/a> at the ICA San José.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>October:\u003c/strong> an unobstructed view of the Ferry Building, when the giant lady is finally deinstalled; Leila Weefur’s \u003ca href=\"https://www.thelab.org/projects/2026/10/9/leila-weefur-the-chapel-of-becoming\">\u003cem>The Chapel of Becoming\u003c/em>\u003c/a> at the Lab.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>November:\u003c/strong> the \u003ca href=\"https://www.indexical.org/events/2026-11-14-within-mirrors-films-of-paul-clipson\">films of Paul Clipson\u003c/a>, screening at Indexical in Santa Cruz.\u003c/p>\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
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"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.",
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"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.",
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"mindshift": {
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"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>",
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}
}
