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": "\u003cp>During the 55 years of her materially expansive art career, repetition has become one of Maren Hassinger’s most powerful tools. \u003c/p>\n\n\n\n\u003cp>She started multiplying elements of her sculptures early on. In 1972, while still in graduate school at UCLA, she placed four large, loosely tied knots of thick hemp rope on the floor. Eight years later, she made \u003cem>Leaning\u003c/em>, 32 bundles of wire rope arranged at tottering angles. \u003cem>Consolation\u003c/em>, from 1996, is a grid of over 100 sprays of even thinner wire rope, an orderly rendition of ready-to-burst-apart dandelions.\u003c/p>\n\n\n\n\u003cp>There could be something formulaic about repeating a gesture, of making a thing again and again. But in \u003cem>\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Living Moving Growing\u003c/a>\u003c/em>, Hassinger’s retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, her version of repetition is organic. What she captures is not the precision of mass-produced metal or plastic, but the proliferation of nature. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000.jpg\" alt=\"gallery view with many small wire rope bundles in foreground, framed photos and large vinyl on wall behind\" class=\"wp-image-13990927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Maren Hassinger: Living Moving Growing’ at BAMPFA, with ‘Leaning,’ 1980 in the foreground. (Chris Grunder)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The exhibition, organized by BAMPFA curators Margot Norton and Anthony Graham, moves mostly chronologically from Hassinger’s early grad school work to the present day, presenting Hassinger’s fluid movement across sculpture, video, installation, performance and public art. The newest element, a participatory piece called \u003cem>\u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Wrenching News\u003c/a>\u003c/em> — made from twisted and tied pages of \u003cem>The New York Times\u003c/em> — will grow over the course of the exhibition. \u003c/p>\n\n\n\n\u003cp>In the hands of another artist, Hassinger’s materials (wire rope, tree branches, plastic bags) might feel cold and spare. But in pieces like \u003cem>River\u003c/em>, a 1972 sculpture of steel chains entwined with nautical rope, the heft and scale of the industrial materials demonstrate the sheer physicality of Hassinger’s practice. You can’t see the art without seeing her, as photographed by her friend Adam Avila in the ’70s, unwinding thick cables of wire, crouching by rows of cast plaster, posing with her sculptures as if they’re dance partners.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Halfway through the show, duets abound. Recreations of three 1970s sculptures pair tree branches with wire rope. The silvery, bare bark blends with the slightly undulating wire, intermingling and simultaneously underlining their material contrasts. Movement — that the trees once experienced, that went into the making of this work — is never far away. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg\" alt=\"installation view with large branch sculpture in foreground, small sticks in left corner and pink plastic bags on back wall\" class=\"wp-image-13990925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left to right: Maren Hassinger, ‘Beach,’ 1980/2025; ‘Pas de Deux,’ 1977/2026; and ‘Love,’ 2008/2026. (Chris Grunder)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This is especially the case with \u003cem>Beach\u003c/em>, a 1980 piece Hassinger first installed at Linda Goode Bryant’s \u003ca href=\"https://research.moma.org/c.php?g=1409558&p=10437691\">Just Above Midtown Gallery\u003c/a> in New York. A simple, repeated arrangement of angled wooden dowels and irregular plaster bases immediately conjures an image of long grasses blowing in the wind. At BAMPFA, the dowels point the way forward to the next gallery, and to Hassinger’s own move from Los Angeles to the East Coast.\u003c/p>\n\n\n\n\u003cp>Here, color enters Hassinger’s work in the form of pink plastic bags, red crosses made from tape and the dark green of rose leaves affixed, like wallpaper, across two walls of a gallery. \u003cem>Heaven\u003c/em> serves as a backdrop for \u003cem>Beige\u003c/em> (1992) and \u003cem>Green\u003c/em> (1993), Hassinger’s first video works. The former documents the winter landscape seen on her commute across Long Island, the latter, the verdant images of summer.\u003c/p>\n\n\n\n\u003cp>In two other works, Hassinger turns the camera on herself and her family, examining the construction of race (the 16mm film \u003cem>Daily Mask\u003c/em>) and her own complicated family tree (the video \u003cem>Birthright\u003c/em>). The exhibition creates a dark, sequestered corner for visitors to watch these pieces, the pink plastic bags of \u003cem>Love\u003c/em> warming the space.\u003c/p>\n\n\n\n\u003cp>As to lingering: Some of Hassinger’s sculptural works are so large, so stunning, it might be easy to breeze by the much-smaller photographs and ephemera in and around the show’s vitrines. These include images of her Malcolm X-quoting mosaics in the New York City subway; documentation of the 1982 performance \u003cem>Flying\u003c/em>, Hassinger and her Studio Z collaborators smiling, arms spread; and pictures of the artist performing \u003cem>Pink Trash, \u003c/em>dispersing pink-painted detritus across three New York City parks. (\u003ca href=\"https://bampfa.org/event/pink-trash-crescent-lawn-uc-berkeley\">Hassinger will perform \u003cem>Pink Trash\u003c/em>\u003c/a> on the Crescent Lawn, across the street from BAMPFA, on Sept. 20, 2026.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1570\" height=\"1024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg\" alt=\"\" class=\"wp-image-13990928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-element-caption\">Maren Hassinger, Juana Nash, Senga Nengudi, Ulysses Jenkins, Franklin Parker, Lofty Amono, “Nastyee,” and N’dugu Jungles, ‘Flying,’ 1982. A performance at the Los Angeles Municipal Art Gallery, Barnsdall Art Park. (Courtesy the artists and Susan Inglett Gallery; Photo by Adam Avila)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>These pieces of documentation depict a deeply collaborative and joyful practice. Even when it’s Hassinger in the frame, we know there’s a photographer on the other side of the lens, making sure this moment — if not this object — is preserved as art history.\u003c/p>\n\n\n\n\u003cp>\u003cem>Living Moving Growing \u003c/em>is the latest in a string of especially strong shows at BAMPFA. The museum is, as executive director Julie Rodrigues Widholm writes in the catalog that accompanies this exhibition, “[committed] to increasing the visibility of influential women artists and generating new scholarship on their work.” \u003c/p>\n\n\n\n\n\n\u003cp>The recent \u003ca href=\"https://www.kqed.org/arts/13986355/theresa-hak-kyung-cha-multiple-offerings-bampfa-review\">Theresa Hak Kyung Cha\u003c/a>, \u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Amalia Mesa-Bains\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles\u003c/a> retrospectives were all part of this effort. Even more exciting is the way these shows allow contemporary audiences to plot the connections between artists, thanks to the combined (if perhaps unintentional) efforts of multiple Bay Area institutions. \u003c/p>\n\n\n\n\u003cp>I was delighted, for instance, to see Suzanne Jackson’s name in Hassinger’s chronology. Jackson, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13982215/sfmoma-suzanne-jackson-what-is-love-review\">San Francisco Museum of Modern Art retrospective\u003c/a>, selected Hassinger as one of 10 artists to receive a public art commission through the Comprehensive Employment and Training Act (CETA), a WPA-style employment program, in 1978. \u003c/p>\n\n\n\n\u003cp>Presenting histories like these highlights not just individual artists’ accomplishments, but their equally important networks of collaboration and support. So many of Hassinger’s works are the result of these types of relationships — artworks made by many bodies and with the help of many hands. \u003cem>Pais/Ascension\u003c/em> (1976/2022) illustrates it perfectly: two wire ropes lean against a wall and towards each other, their ends splaying outward, overlapping and entwining.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Maren Hassinger: Living Moving Growing\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St., Berkeley) through Nov. 29, 2026.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>She started multiplying elements of her sculptures early on. In 1972, while still in graduate school at UCLA, she placed four large, loosely tied knots of thick hemp rope on the floor. Eight years later, she made \u003cem>Leaning\u003c/em>, 32 bundles of wire rope arranged at tottering angles. \u003cem>Consolation\u003c/em>, from 1996, is a grid of over 100 sprays of even thinner wire rope, an orderly rendition of ready-to-burst-apart dandelions.\u003c/p>\n",
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"\n\u003cp>She started multiplying elements of her sculptures early on. In 1972, while still in graduate school at UCLA, she placed four large, loosely tied knots of thick hemp rope on the floor. Eight years later, she made \u003cem>Leaning\u003c/em>, 32 bundles of wire rope arranged at tottering angles. \u003cem>Consolation\u003c/em>, from 1996, is a grid of over 100 sprays of even thinner wire rope, an orderly rendition of ready-to-burst-apart dandelions.\u003c/p>\n"
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"innerHTML": "\n\u003cp>There could be something formulaic about repeating a gesture, of making a thing again and again. But in \u003cem>\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Living Moving Growing\u003c/a>\u003c/em>, Hassinger’s retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, her version of repetition is organic. What she captures is not the precision of mass-produced metal or plastic, but the proliferation of nature. \u003c/p>\n",
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"\n\u003cp>There could be something formulaic about repeating a gesture, of making a thing again and again. But in \u003cem>\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Living Moving Growing\u003c/a>\u003c/em>, Hassinger’s retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, her version of repetition is organic. What she captures is not the precision of mass-produced metal or plastic, but the proliferation of nature. \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/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000.jpg\" alt=\"gallery view with many small wire rope bundles in foreground, framed photos and large vinyl on wall behind\" class=\"wp-image-13990927\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Maren Hassinger: Living Moving Growing’ at BAMPFA, with ‘Leaning,’ 1980 in the foreground.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The exhibition, organized by BAMPFA curators Margot Norton and Anthony Graham, moves mostly chronologically from Hassinger’s early grad school work to the present day, presenting Hassinger’s fluid movement across sculpture, video, installation, performance and public art. The newest element, a participatory piece called \u003cem>\u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Wrenching News\u003c/a>\u003c/em> — made from twisted and tied pages of \u003cem>The New York Times\u003c/em> — will grow over the course of the exhibition. \u003c/p>\n",
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"\n\u003cp>The exhibition, organized by BAMPFA curators Margot Norton and Anthony Graham, moves mostly chronologically from Hassinger’s early grad school work to the present day, presenting Hassinger’s fluid movement across sculpture, video, installation, performance and public art. The newest element, a participatory piece called \u003cem>\u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Wrenching News\u003c/a>\u003c/em> — made from twisted and tied pages of \u003cem>The New York Times\u003c/em> — will grow over the course of the exhibition. \u003c/p>\n"
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"innerHTML": "\n\u003cp>In the hands of another artist, Hassinger’s materials (wire rope, tree branches, plastic bags) might feel cold and spare. But in pieces like \u003cem>River\u003c/em>, a 1972 sculpture of steel chains entwined with nautical rope, the heft and scale of the industrial materials demonstrate the sheer physicality of Hassinger’s practice. You can’t see the art without seeing her, as photographed by her friend Adam Avila in the ’70s, unwinding thick cables of wire, crouching by rows of cast plaster, posing with her sculptures as if they’re dance partners.\u003c/p>\n",
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"\n\u003cp>In the hands of another artist, Hassinger’s materials (wire rope, tree branches, plastic bags) might feel cold and spare. But in pieces like \u003cem>River\u003c/em>, a 1972 sculpture of steel chains entwined with nautical rope, the heft and scale of the industrial materials demonstrate the sheer physicality of Hassinger’s practice. You can’t see the art without seeing her, as photographed by her friend Adam Avila in the ’70s, unwinding thick cables of wire, crouching by rows of cast plaster, posing with her sculptures as if they’re dance partners.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Halfway through the show, duets abound. Recreations of three 1970s sculptures pair tree branches with wire rope. The silvery, bare bark blends with the slightly undulating wire, intermingling and simultaneously underlining their material contrasts. Movement — that the trees once experienced, that went into the making of this work — is never far away. \u003c/p>\n",
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"\n\u003cp>Halfway through the show, duets abound. Recreations of three 1970s sculptures pair tree branches with wire rope. The silvery, bare bark blends with the slightly undulating wire, intermingling and simultaneously underlining their material contrasts. Movement — that the trees once experienced, that went into the making of this work — is never far away. \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/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg\" alt=\"installation view with large branch sculpture in foreground, small sticks in left corner and pink plastic bags on back wall\" class=\"wp-image-13990925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">From left to right: Maren Hassinger, ‘Beach,’ 1980/2025; ‘Pas de Deux,’ 1977/2026; and ‘Love,’ 2008/2026.\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/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg\" alt=\"installation view with large branch sculpture in foreground, small sticks in left corner and pink plastic bags on back wall\" class=\"wp-image-13990925\"/>\u003cfigcaption class=\"wp-element-caption\">From left to right: Maren Hassinger, ‘Beach,’ 1980/2025; ‘Pas de Deux,’ 1977/2026; and ‘Love,’ 2008/2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>This is especially the case with \u003cem>Beach\u003c/em>, a 1980 piece Hassinger first installed at Linda Goode Bryant’s \u003ca href=\"https://research.moma.org/c.php?g=1409558&p=10437691\">Just Above Midtown Gallery\u003c/a> in New York. A simple, repeated arrangement of angled wooden dowels and irregular plaster bases immediately conjures an image of long grasses blowing in the wind. At BAMPFA, the dowels point the way forward to the next gallery, and to Hassinger’s own move from Los Angeles to the East Coast.\u003c/p>\n",
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"\n\u003cp>This is especially the case with \u003cem>Beach\u003c/em>, a 1980 piece Hassinger first installed at Linda Goode Bryant’s \u003ca href=\"https://research.moma.org/c.php?g=1409558&p=10437691\">Just Above Midtown Gallery\u003c/a> in New York. A simple, repeated arrangement of angled wooden dowels and irregular plaster bases immediately conjures an image of long grasses blowing in the wind. At BAMPFA, the dowels point the way forward to the next gallery, and to Hassinger’s own move from Los Angeles to the East Coast.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Here, color enters Hassinger’s work in the form of pink plastic bags, red crosses made from tape and the dark green of rose leaves affixed, like wallpaper, across two walls of a gallery. \u003cem>Heaven\u003c/em> serves as a backdrop for \u003cem>Beige\u003c/em> (1992) and \u003cem>Green\u003c/em> (1993), Hassinger’s first video works. The former documents the winter landscape seen on her commute across Long Island, the latter, the verdant images of summer.\u003c/p>\n",
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"\n\u003cp>Here, color enters Hassinger’s work in the form of pink plastic bags, red crosses made from tape and the dark green of rose leaves affixed, like wallpaper, across two walls of a gallery. \u003cem>Heaven\u003c/em> serves as a backdrop for \u003cem>Beige\u003c/em> (1992) and \u003cem>Green\u003c/em> (1993), Hassinger’s first video works. The former documents the winter landscape seen on her commute across Long Island, the latter, the verdant images of summer.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In two other works, Hassinger turns the camera on herself and her family, examining the construction of race (the 16mm film \u003cem>Daily Mask\u003c/em>) and her own complicated family tree (the video \u003cem>Birthright\u003c/em>). The exhibition creates a dark, sequestered corner for visitors to watch these pieces, the pink plastic bags of \u003cem>Love\u003c/em> warming the space.\u003c/p>\n",
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"\n\u003cp>In two other works, Hassinger turns the camera on herself and her family, examining the construction of race (the 16mm film \u003cem>Daily Mask\u003c/em>) and her own complicated family tree (the video \u003cem>Birthright\u003c/em>). The exhibition creates a dark, sequestered corner for visitors to watch these pieces, the pink plastic bags of \u003cem>Love\u003c/em> warming the space.\u003c/p>\n"
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"innerHTML": "\n\u003cp>As to lingering: Some of Hassinger’s sculptural works are so large, so stunning, it might be easy to breeze by the much-smaller photographs and ephemera in and around the show’s vitrines. These include images of her Malcolm X-quoting mosaics in the New York City subway; documentation of the 1982 performance \u003cem>Flying\u003c/em>, Hassinger and her Studio Z collaborators smiling, arms spread; and pictures of the artist performing \u003cem>Pink Trash, \u003c/em>dispersing pink-painted detritus across three New York City parks. (\u003ca href=\"https://bampfa.org/event/pink-trash-crescent-lawn-uc-berkeley\">Hassinger will perform \u003cem>Pink Trash\u003c/em>\u003c/a> on the Crescent Lawn, across the street from BAMPFA, on Sept. 20, 2026.)\u003c/p>\n",
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"\n\u003cp>As to lingering: Some of Hassinger’s sculptural works are so large, so stunning, it might be easy to breeze by the much-smaller photographs and ephemera in and around the show’s vitrines. These include images of her Malcolm X-quoting mosaics in the New York City subway; documentation of the 1982 performance \u003cem>Flying\u003c/em>, Hassinger and her Studio Z collaborators smiling, arms spread; and pictures of the artist performing \u003cem>Pink Trash, \u003c/em>dispersing pink-painted detritus across three New York City parks. (\u003ca href=\"https://bampfa.org/event/pink-trash-crescent-lawn-uc-berkeley\">Hassinger will perform \u003cem>Pink Trash\u003c/em>\u003c/a> on the Crescent Lawn, across the street from BAMPFA, on Sept. 20, 2026.)\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/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg\" alt=\"\" class=\"wp-image-13990928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-1536x1002.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Maren Hassinger, Juana Nash, Senga Nengudi, Ulysses Jenkins, Franklin Parker, Lofty Amono, “Nastyee,” and N’dugu Jungles, ‘Flying,’ 1982. A performance at the Los Angeles Municipal Art Gallery, Barnsdall Art Park.\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/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg\" alt=\"\" class=\"wp-image-13990928\"/>\u003cfigcaption class=\"wp-element-caption\">Maren Hassinger, Juana Nash, Senga Nengudi, Ulysses Jenkins, Franklin Parker, Lofty Amono, “Nastyee,” and N’dugu Jungles, ‘Flying,’ 1982. A performance at the Los Angeles Municipal Art Gallery, Barnsdall Art Park.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>These pieces of documentation depict a deeply collaborative and joyful practice. Even when it’s Hassinger in the frame, we know there’s a photographer on the other side of the lens, making sure this moment — if not this object — is preserved as art history.\u003c/p>\n",
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"\n\u003cp>These pieces of documentation depict a deeply collaborative and joyful practice. Even when it’s Hassinger in the frame, we know there’s a photographer on the other side of the lens, making sure this moment — if not this object — is preserved as art history.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Living Moving Growing \u003c/em>is the latest in a string of especially strong shows at BAMPFA. The museum is, as executive director Julie Rodrigues Widholm writes in the catalog that accompanies this exhibition, “[committed] to increasing the visibility of influential women artists and generating new scholarship on their work.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>The recent \u003ca href=\"https://www.kqed.org/arts/13986355/theresa-hak-kyung-cha-multiple-offerings-bampfa-review\">Theresa Hak Kyung Cha\u003c/a>, \u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Amalia Mesa-Bains\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles\u003c/a> retrospectives were all part of this effort. Even more exciting is the way these shows allow contemporary audiences to plot the connections between artists, thanks to the combined (if perhaps unintentional) efforts of multiple Bay Area institutions. \u003c/p>\n",
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"innerHTML": "\n\u003cp>I was delighted, for instance, to see Suzanne Jackson’s name in Hassinger’s chronology. Jackson, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13982215/sfmoma-suzanne-jackson-what-is-love-review\">San Francisco Museum of Modern Art retrospective\u003c/a>, selected Hassinger as one of 10 artists to receive a public art commission through the Comprehensive Employment and Training Act (CETA), a WPA-style employment program, in 1978. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Presenting histories like these highlights not just individual artists’ accomplishments, but their equally important networks of collaboration and support. So many of Hassinger’s works are the result of these types of relationships — artworks made by many bodies and with the help of many hands. \u003cem>Pais/Ascension\u003c/em> (1976/2022) illustrates it perfectly: two wire ropes lean against a wall and towards each other, their ends splaying outward, overlapping and entwining.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Maren Hassinger: Living Moving Growing\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St., Berkeley) through Nov. 29, 2026.\u003c/em>\u003c/p>\n",
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"excerpt": "At BAMPFA, ‘Living Moving Growing’ chronicles over five decades of sculpture, performance, video and public art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the 55 years of her materially expansive art career, repetition has become one of Maren Hassinger’s most powerful tools. \u003c/p>\n\n\n\n\u003cp>She started multiplying elements of her sculptures early on. In 1972, while still in graduate school at UCLA, she placed four large, loosely tied knots of thick hemp rope on the floor. Eight years later, she made \u003cem>Leaning\u003c/em>, 32 bundles of wire rope arranged at tottering angles. \u003cem>Consolation\u003c/em>, from 1996, is a grid of over 100 sprays of even thinner wire rope, an orderly rendition of ready-to-burst-apart dandelions.\u003c/p>\n\n\n\n\u003cp>There could be something formulaic about repeating a gesture, of making a thing again and again. But in \u003cem>\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Living Moving Growing\u003c/a>\u003c/em>, Hassinger’s retrospective at the \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, her version of repetition is organic. What she captures is not the precision of mass-produced metal or plastic, but the proliferation of nature. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000.jpg\" alt=\"gallery view with many small wire rope bundles in foreground, framed photos and large vinyl on wall behind\" class=\"wp-image-13990927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_024_AMFA_art_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘Maren Hassinger: Living Moving Growing’ at BAMPFA, with ‘Leaning,’ 1980 in the foreground. (Chris Grunder)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The exhibition, organized by BAMPFA curators Margot Norton and Anthony Graham, moves mostly chronologically from Hassinger’s early grad school work to the present day, presenting Hassinger’s fluid movement across sculpture, video, installation, performance and public art. The newest element, a participatory piece called \u003cem>\u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Wrenching News\u003c/a>\u003c/em> — made from twisted and tied pages of \u003cem>The New York Times\u003c/em> — will grow over the course of the exhibition. \u003c/p>\n\n\n\n\u003cp>In the hands of another artist, Hassinger’s materials (wire rope, tree branches, plastic bags) might feel cold and spare. But in pieces like \u003cem>River\u003c/em>, a 1972 sculpture of steel chains entwined with nautical rope, the heft and scale of the industrial materials demonstrate the sheer physicality of Hassinger’s practice. You can’t see the art without seeing her, as photographed by her friend Adam Avila in the ’70s, unwinding thick cables of wire, crouching by rows of cast plaster, posing with her sculptures as if they’re dance partners.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Halfway through the show, duets abound. Recreations of three 1970s sculptures pair tree branches with wire rope. The silvery, bare bark blends with the slightly undulating wire, intermingling and simultaneously underlining their material contrasts. Movement — that the trees once experienced, that went into the making of this work — is never far away. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg\" alt=\"installation view with large branch sculpture in foreground, small sticks in left corner and pink plastic bags on back wall\" class=\"wp-image-13990925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Install_Living-Moving-Growing_2026_016_AMFA_art_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left to right: Maren Hassinger, ‘Beach,’ 1980/2025; ‘Pas de Deux,’ 1977/2026; and ‘Love,’ 2008/2026. (Chris Grunder)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This is especially the case with \u003cem>Beach\u003c/em>, a 1980 piece Hassinger first installed at Linda Goode Bryant’s \u003ca href=\"https://research.moma.org/c.php?g=1409558&p=10437691\">Just Above Midtown Gallery\u003c/a> in New York. A simple, repeated arrangement of angled wooden dowels and irregular plaster bases immediately conjures an image of long grasses blowing in the wind. At BAMPFA, the dowels point the way forward to the next gallery, and to Hassinger’s own move from Los Angeles to the East Coast.\u003c/p>\n\n\n\n\u003cp>Here, color enters Hassinger’s work in the form of pink plastic bags, red crosses made from tape and the dark green of rose leaves affixed, like wallpaper, across two walls of a gallery. \u003cem>Heaven\u003c/em> serves as a backdrop for \u003cem>Beige\u003c/em> (1992) and \u003cem>Green\u003c/em> (1993), Hassinger’s first video works. The former documents the winter landscape seen on her commute across Long Island, the latter, the verdant images of summer.\u003c/p>\n\n\n\n\u003cp>In two other works, Hassinger turns the camera on herself and her family, examining the construction of race (the 16mm film \u003cem>Daily Mask\u003c/em>) and her own complicated family tree (the video \u003cem>Birthright\u003c/em>). The exhibition creates a dark, sequestered corner for visitors to watch these pieces, the pink plastic bags of \u003cem>Love\u003c/em> warming the space.\u003c/p>\n\n\n\n\u003cp>As to lingering: Some of Hassinger’s sculptural works are so large, so stunning, it might be easy to breeze by the much-smaller photographs and ephemera in and around the show’s vitrines. These include images of her Malcolm X-quoting mosaics in the New York City subway; documentation of the 1982 performance \u003cem>Flying\u003c/em>, Hassinger and her Studio Z collaborators smiling, arms spread; and pictures of the artist performing \u003cem>Pink Trash, \u003c/em>dispersing pink-painted detritus across three New York City parks. (\u003ca href=\"https://bampfa.org/event/pink-trash-crescent-lawn-uc-berkeley\">Hassinger will perform \u003cem>Pink Trash\u003c/em>\u003c/a> on the Crescent Lawn, across the street from BAMPFA, on Sept. 20, 2026.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1570\" height=\"1024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg\" alt=\"\" class=\"wp-image-13990928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5.jpg 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/1982_HASSINGER_Flying_Documentation-View-5-1536x1002.jpg 1536w\" sizes=\"auto, (max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-element-caption\">Maren Hassinger, Juana Nash, Senga Nengudi, Ulysses Jenkins, Franklin Parker, Lofty Amono, “Nastyee,” and N’dugu Jungles, ‘Flying,’ 1982. A performance at the Los Angeles Municipal Art Gallery, Barnsdall Art Park. (Courtesy the artists and Susan Inglett Gallery; Photo by Adam Avila)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>These pieces of documentation depict a deeply collaborative and joyful practice. Even when it’s Hassinger in the frame, we know there’s a photographer on the other side of the lens, making sure this moment — if not this object — is preserved as art history.\u003c/p>\n\n\n\n\u003cp>\u003cem>Living Moving Growing \u003c/em>is the latest in a string of especially strong shows at BAMPFA. The museum is, as executive director Julie Rodrigues Widholm writes in the catalog that accompanies this exhibition, “[committed] to increasing the visibility of influential women artists and generating new scholarship on their work.” \u003c/p>\n\n\n\n\n\n\u003cp>The recent \u003ca href=\"https://www.kqed.org/arts/13986355/theresa-hak-kyung-cha-multiple-offerings-bampfa-review\">Theresa Hak Kyung Cha\u003c/a>, \u003ca href=\"https://bampfa.org/event/wrenching-news-workshops\">Amalia Mesa-Bains\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13916997/alison-knowles-retrospective-fluxus-bampfa-review\">Alison Knowles\u003c/a> retrospectives were all part of this effort. Even more exciting is the way these shows allow contemporary audiences to plot the connections between artists, thanks to the combined (if perhaps unintentional) efforts of multiple Bay Area institutions. \u003c/p>\n\n\n\n\u003cp>I was delighted, for instance, to see Suzanne Jackson’s name in Hassinger’s chronology. Jackson, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13982215/sfmoma-suzanne-jackson-what-is-love-review\">San Francisco Museum of Modern Art retrospective\u003c/a>, selected Hassinger as one of 10 artists to receive a public art commission through the Comprehensive Employment and Training Act (CETA), a WPA-style employment program, in 1978. \u003c/p>\n\n\n\n\u003cp>Presenting histories like these highlights not just individual artists’ accomplishments, but their equally important networks of collaboration and support. So many of Hassinger’s works are the result of these types of relationships — artworks made by many bodies and with the help of many hands. \u003cem>Pais/Ascension\u003c/em> (1976/2022) illustrates it perfectly: two wire ropes lean against a wall and towards each other, their ends splaying outward, overlapping and entwining.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://bampfa.org/program/maren-hassinger\">Maren Hassinger: Living Moving Growing\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive (2155 Center St., Berkeley) through Nov. 29, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "vital-signs-film-series-shapeshifters-cinema-oakland",
"title": "Shapeshifters Cinema Hosts a New Film Series for Adventurous Moviegoers",
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"content": "\u003cp>Jonathan Kiefer knows a little something about the inertia and distractions that can keep you from getting out of the house. \u003c/p>\n\n\n\n\u003cp>Despite being a bona fide film buff — Kiefer is a filmmaker, a \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a> employee, and a \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> film professor — he was surprised “and a little sad” at how rarely he was actually going to the movies. Earlier this year, he decided to take matters into his own hands. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://vitalsignsfilms.substack.com/\">Vital Signs Film Series\u003c/a> (aka “monthly proof of cinematic life”) launched last month at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a>, a 40-seat theater best known for its experimental offerings. What Kiefer pitched wasn’t their ordinary fare — 16mm shorts, expanded cinema events, DIY workshops — but Kathleen Quillian and Gilbert Guerrero, Shapeshifters’ founders, were game. \u003c/p>\n\n\n\n\u003cp>“Outside of the experimental film and the programming that we do, how do we just keep expanding?” Gilbert says. “We have this space, it’s just sitting here empty.” Why not host a weekend matinee? \u003c/p>\n\n\n\n\u003cp>The series kicked off on May 2 with the prolific South Korean director Hong Sansoo’s \u003cem>\u003ca href=\"https://vitalsignsfilms.substack.com/p/may-3-what-does-that-nature-say-to\">What Does That Nature Say to You\u003c/a>\u003c/em>. A short animation by fellow CCA faculty member \u003ca href=\"https://www.kotaezawa.com/\">Kota Ezawa\u003c/a> opened the program. The series’ second offering, Caroline Golum’s \u003cem>Revelations of Divine Love\u003c/em>, screens this Sunday, June 21.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/QuKics1aoFc?si=qapEP1Mh2JBpxCqt\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Vital Signs hopes to fill an untapped niche in the Bay Area film ecosystem. Not quite experimental and not quite mainstream, Vital Signs movies might be touring the international film festival circuit; they likely won’t be playing on a Bay Area screen anytime soon. Kiefer describes them as “adventurous stuff that is kind of indie, art house, slightly strange, noncommercial, very boutique offerings.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Maybe if you’re lucky, they’ll wind up on the streaming platforms,” he explains. “But then with this type of film especially, it’s not as good just to watch it at home as it is to be in even a small room with just a few people.”\u003c/p>\n\n\n\n\u003cp>Made on a budget of around $200,000, \u003cem>Revelations of Divine Love\u003c/em> tells the story of the 14th-century Christian mystic \u003ca href=\"https://en.wikipedia.org/wiki/Julian_of_Norwich\">Julian of Norwich\u003c/a>, who recounted her visions in what is now considered the oldest surviving English-language text written by a woman. \u003c/p>\n\n\n\n\u003cp>“You might think this is going to be cheeky to a point of detachment and super hipster, holding the audience at arm’s length, but it’s a very sincere piece,” Kiefer says. “And it’s really beautiful.”\u003c/p>\n\n\n\n\u003cp>Golum, who’s based in Brooklyn, will be in attendance for a Q&A after the Shapeshifters screening.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1316\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000.jpg\" alt=\"small crowd in theater seats looking at screen with multiple projectors running behind them\" class=\"wp-image-13990808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000-1536x1011.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘Too Much is Never Enough,’ a collaborative expanded cinema performance at Shapeshifters Cinema on Feb. 6, 2025 (Courtesy of Shapeshifters Cinema)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Kiefer’s pitch came just as Shapeshifters was making its own ask. In March, the cinema launched a \u003ca href=\"https://www.gofundme.com/f/support-shapeshifters-cinema-brewery-cafe\">GoFundMe\u003c/a> to raise $60,000 to help cover immediate expenses. “The biggest donor to our organization over the years has been an unnamed shadow donor,” the GoFundMe explains, “and that has been us — the founding directors — who have kept the engine running with regular financial infusions from out of our own pockets.”\u003c/p>\n\n\n\n\n\n\u003cp>Founded in 2012, Shapeshifters Cinema started as a monthly experimental film series, first at Oakland’s Arbor Cafe, then at the Temescal Arts Center. Since 2019, they’ve operated a microcinema and brewery in a Victorian near Jack London Square (Guerrero is an award-winning brewer). In 2023 they took over the next-door cafe.\u003c/p>\n\n\n\n\u003cp>While workshop fees, rentals and food and beer sales help sustain the operation, Guerrero says Shapeshifters isn’t yet profitable. “From the business side of it, it’s just how do we get people to come in so we can pay the rent,” Guerrero says. \u003c/p>\n\n\n\n\u003cp>While the first Vital Signs screening didn’t have a huge turnout, Quillian says, the people who came \u003cem>were\u003c/em> first-time visitors. “That is something we’re excited about,” she says. “It’s going to open up space for people who are not necessarily into short experimental or performative work.” After all, it’s Shapeshifters’ fan base, now growing, that helped them raise over $53,000 in two weeks.\u003c/p>\n\n\n\n\u003cp>Kiefer is well aware of the factors at play in the current arts funding landscape — and the importance of artist-run places like Shapeshifters. He tried to impart the lessons of indie filmmaking to his CCA students. \u003c/p>\n\n\n\n\u003cp>“Make what you can with what you have,” he says he told them. “Understand that institutions may or may not be helpful, or if they are, it might be in a limited way or for a limited time. The \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closing of the school\u003c/a> seems like a brutal but effective example of that.”\u003c/p>\n\n\n\n\u003cp>Meanwhile, Vital Signs puts that indie mentality into practice, building a community of adventurous moviegoers one hard-to-see film at a time. Ben Rivers’ \u003ca href=\"https://grasshopperfilm.com/film/mares-nest/\">\u003cem>Mare’s Nest\u003c/em>\u003c/a> is scheduled for July 5, Patrick Wang’s \u003cem>\u003ca href=\"https://keithuhlich.substack.com/p/a-rimbaud\">A. Rimbaud\u003c/a>\u003c/em> for Aug. 2. Future screenings will include Artemis Shaw’s \u003ca href=\"https://www.artemisshaw.com/eye\">\u003cem>Removal of the Eye\u003c/em>\u003c/a> and Sofia Bohdanowicz’s \u003ca href=\"https://www.sofiabohdanowicz.com/films-1/measures-for-a-funeral\">\u003cem>Measures for a Funeral\u003c/em>\u003c/a>. \u003c/p>\n\n\n\n\u003cp>It’s no accident the series launched in spring, Kiefer says: “You start to see flowers blooming, and there’s a hope that’s associated with that.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>‘\u003cem>\u003ca href=\"https://www.tickettailor.com/events/shapeshifterscinema/2202635\">Revelations of Divine Love\u003c/a>’ screens Sunday, June 21, at 2 p.m. at Shapeshifters Cinema (857 5th St., Oakland). Director Caroline Golum will be in attendance.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Despite being a bona fide film buff — Kiefer is a filmmaker, a \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a> employee, and a \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> film professor — he was surprised “and a little sad” at how rarely he was actually going to the movies. Earlier this year, he decided to take matters into his own hands. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://vitalsignsfilms.substack.com/\">Vital Signs Film Series\u003c/a> (aka “monthly proof of cinematic life”) launched last month at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a>, a 40-seat theater best known for its experimental offerings. What Kiefer pitched wasn’t their ordinary fare — 16mm shorts, expanded cinema events, DIY workshops — but Kathleen Quillian and Gilbert Guerrero, Shapeshifters’ founders, were game. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“Outside of the experimental film and the programming that we do, how do we just keep expanding?” Gilbert says. “We have this space, it’s just sitting here empty.” Why not host a weekend matinee? \u003c/p>\n",
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"innerHTML": "\n\u003cp>The series kicked off on May 2 with the prolific South Korean director Hong Sansoo’s \u003cem>\u003ca href=\"https://vitalsignsfilms.substack.com/p/may-3-what-does-that-nature-say-to\">What Does That Nature Say to You\u003c/a>\u003c/em>. A short animation by fellow CCA faculty member \u003ca href=\"https://www.kotaezawa.com/\">Kota Ezawa\u003c/a> opened the program. The series’ second offering, Caroline Golum’s \u003cem>Revelations of Divine Love\u003c/em>, screens this Sunday, June 21.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Vital Signs hopes to fill an untapped niche in the Bay Area film ecosystem. Not quite experimental and not quite mainstream, Vital Signs movies might be touring the international film festival circuit; they likely won’t be playing on a Bay Area screen anytime soon. Kiefer describes them as “adventurous stuff that is kind of indie, art house, slightly strange, noncommercial, very boutique offerings.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Maybe if you’re lucky, they’ll wind up on the streaming platforms,” he explains. “But then with this type of film especially, it’s not as good just to watch it at home as it is to be in even a small room with just a few people.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Made on a budget of around $200,000, \u003cem>Revelations of Divine Love\u003c/em> tells the story of the 14th-century Christian mystic \u003ca href=\"https://en.wikipedia.org/wiki/Julian_of_Norwich\">Julian of Norwich\u003c/a>, who recounted her visions in what is now considered the oldest surviving English-language text written by a woman. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“You might think this is going to be cheeky to a point of detachment and super hipster, holding the audience at arm’s length, but it’s a very sincere piece,” Kiefer says. “And it’s really beautiful.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Golum, who’s based in Brooklyn, will be in attendance for a Q&A after the Shapeshifters screening.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Kiefer’s pitch came just as Shapeshifters was making its own ask. In March, the cinema launched a \u003ca href=\"https://www.gofundme.com/f/support-shapeshifters-cinema-brewery-cafe\">GoFundMe\u003c/a> to raise $60,000 to help cover immediate expenses. “The biggest donor to our organization over the years has been an unnamed shadow donor,” the GoFundMe explains, “and that has been us — the founding directors — who have kept the engine running with regular financial infusions from out of our own pockets.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Founded in 2012, Shapeshifters Cinema started as a monthly experimental film series, first at Oakland’s Arbor Cafe, then at the Temescal Arts Center. Since 2019, they’ve operated a microcinema and brewery in a Victorian near Jack London Square (Guerrero is an award-winning brewer). In 2023 they took over the next-door cafe.\u003c/p>\n",
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"innerHTML": "\n\u003cp>While workshop fees, rentals and food and beer sales help sustain the operation, Guerrero says Shapeshifters isn’t yet profitable. “From the business side of it, it’s just how do we get people to come in so we can pay the rent,” Guerrero says. \u003c/p>\n",
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"\n\u003cp>While workshop fees, rentals and food and beer sales help sustain the operation, Guerrero says Shapeshifters isn’t yet profitable. “From the business side of it, it’s just how do we get people to come in so we can pay the rent,” Guerrero says. \u003c/p>\n"
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"innerHTML": "\n\u003cp>While the first Vital Signs screening didn’t have a huge turnout, Quillian says, the people who came \u003cem>were\u003c/em> first-time visitors. “That is something we’re excited about,” she says. “It’s going to open up space for people who are not necessarily into short experimental or performative work.” After all, it’s Shapeshifters’ fan base, now growing, that helped them raise over $53,000 in two weeks.\u003c/p>\n",
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"\n\u003cp>While the first Vital Signs screening didn’t have a huge turnout, Quillian says, the people who came \u003cem>were\u003c/em> first-time visitors. “That is something we’re excited about,” she says. “It’s going to open up space for people who are not necessarily into short experimental or performative work.” After all, it’s Shapeshifters’ fan base, now growing, that helped them raise over $53,000 in two weeks.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Kiefer is well aware of the factors at play in the current arts funding landscape — and the importance of artist-run places like Shapeshifters. He tried to impart the lessons of indie filmmaking to his CCA students. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“Make what you can with what you have,” he says he told them. “Understand that institutions may or may not be helpful, or if they are, it might be in a limited way or for a limited time. The \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closing of the school\u003c/a> seems like a brutal but effective example of that.”\u003c/p>\n",
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"\n\u003cp>“Make what you can with what you have,” he says he told them. “Understand that institutions may or may not be helpful, or if they are, it might be in a limited way or for a limited time. The \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closing of the school\u003c/a> seems like a brutal but effective example of that.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>‘\u003cem>\u003ca href=\"https://www.tickettailor.com/events/shapeshifterscinema/2202635\">Revelations of Divine Love\u003c/a>’ screens Sunday, June 21, at 2 p.m. at Shapeshifters Cinema (857 5th St., Oakland). Director Caroline Golum will be in attendance.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Kiefer knows a little something about the inertia and distractions that can keep you from getting out of the house. \u003c/p>\n\n\n\n\u003cp>Despite being a bona fide film buff — Kiefer is a filmmaker, a \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a> employee, and a \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> film professor — he was surprised “and a little sad” at how rarely he was actually going to the movies. Earlier this year, he decided to take matters into his own hands. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://vitalsignsfilms.substack.com/\">Vital Signs Film Series\u003c/a> (aka “monthly proof of cinematic life”) launched last month at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a>, a 40-seat theater best known for its experimental offerings. What Kiefer pitched wasn’t their ordinary fare — 16mm shorts, expanded cinema events, DIY workshops — but Kathleen Quillian and Gilbert Guerrero, Shapeshifters’ founders, were game. \u003c/p>\n\n\n\n\u003cp>“Outside of the experimental film and the programming that we do, how do we just keep expanding?” Gilbert says. “We have this space, it’s just sitting here empty.” Why not host a weekend matinee? \u003c/p>\n\n\n\n\u003cp>The series kicked off on May 2 with the prolific South Korean director Hong Sansoo’s \u003cem>\u003ca href=\"https://vitalsignsfilms.substack.com/p/may-3-what-does-that-nature-say-to\">What Does That Nature Say to You\u003c/a>\u003c/em>. A short animation by fellow CCA faculty member \u003ca href=\"https://www.kotaezawa.com/\">Kota Ezawa\u003c/a> opened the program. The series’ second offering, Caroline Golum’s \u003cem>Revelations of Divine Love\u003c/em>, screens this Sunday, June 21.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QuKics1aoFc'\n title='//www.youtube.com/embed/QuKics1aoFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Vital Signs hopes to fill an untapped niche in the Bay Area film ecosystem. Not quite experimental and not quite mainstream, Vital Signs movies might be touring the international film festival circuit; they likely won’t be playing on a Bay Area screen anytime soon. Kiefer describes them as “adventurous stuff that is kind of indie, art house, slightly strange, noncommercial, very boutique offerings.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Maybe if you’re lucky, they’ll wind up on the streaming platforms,” he explains. “But then with this type of film especially, it’s not as good just to watch it at home as it is to be in even a small room with just a few people.”\u003c/p>\n\n\n\n\u003cp>Made on a budget of around $200,000, \u003cem>Revelations of Divine Love\u003c/em> tells the story of the 14th-century Christian mystic \u003ca href=\"https://en.wikipedia.org/wiki/Julian_of_Norwich\">Julian of Norwich\u003c/a>, who recounted her visions in what is now considered the oldest surviving English-language text written by a woman. \u003c/p>\n\n\n\n\u003cp>“You might think this is going to be cheeky to a point of detachment and super hipster, holding the audience at arm’s length, but it’s a very sincere piece,” Kiefer says. “And it’s really beautiful.”\u003c/p>\n\n\n\n\u003cp>Golum, who’s based in Brooklyn, will be in attendance for a Q&A after the Shapeshifters screening.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1316\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000.jpg\" alt=\"small crowd in theater seats looking at screen with multiple projectors running behind them\" class=\"wp-image-13990808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Too-Much-is-Never-Enough_02-06-25_2000-1536x1011.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘Too Much is Never Enough,’ a collaborative expanded cinema performance at Shapeshifters Cinema on Feb. 6, 2025 (Courtesy of Shapeshifters Cinema)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Kiefer’s pitch came just as Shapeshifters was making its own ask. In March, the cinema launched a \u003ca href=\"https://www.gofundme.com/f/support-shapeshifters-cinema-brewery-cafe\">GoFundMe\u003c/a> to raise $60,000 to help cover immediate expenses. “The biggest donor to our organization over the years has been an unnamed shadow donor,” the GoFundMe explains, “and that has been us — the founding directors — who have kept the engine running with regular financial infusions from out of our own pockets.”\u003c/p>\n\n\n\n\n\n\u003cp>Founded in 2012, Shapeshifters Cinema started as a monthly experimental film series, first at Oakland’s Arbor Cafe, then at the Temescal Arts Center. Since 2019, they’ve operated a microcinema and brewery in a Victorian near Jack London Square (Guerrero is an award-winning brewer). In 2023 they took over the next-door cafe.\u003c/p>\n\n\n\n\u003cp>While workshop fees, rentals and food and beer sales help sustain the operation, Guerrero says Shapeshifters isn’t yet profitable. “From the business side of it, it’s just how do we get people to come in so we can pay the rent,” Guerrero says. \u003c/p>\n\n\n\n\u003cp>While the first Vital Signs screening didn’t have a huge turnout, Quillian says, the people who came \u003cem>were\u003c/em> first-time visitors. “That is something we’re excited about,” she says. “It’s going to open up space for people who are not necessarily into short experimental or performative work.” After all, it’s Shapeshifters’ fan base, now growing, that helped them raise over $53,000 in two weeks.\u003c/p>\n\n\n\n\u003cp>Kiefer is well aware of the factors at play in the current arts funding landscape — and the importance of artist-run places like Shapeshifters. He tried to impart the lessons of indie filmmaking to his CCA students. \u003c/p>\n\n\n\n\u003cp>“Make what you can with what you have,” he says he told them. “Understand that institutions may or may not be helpful, or if they are, it might be in a limited way or for a limited time. The \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closing of the school\u003c/a> seems like a brutal but effective example of that.”\u003c/p>\n\n\n\n\u003cp>Meanwhile, Vital Signs puts that indie mentality into practice, building a community of adventurous moviegoers one hard-to-see film at a time. Ben Rivers’ \u003ca href=\"https://grasshopperfilm.com/film/mares-nest/\">\u003cem>Mare’s Nest\u003c/em>\u003c/a> is scheduled for July 5, Patrick Wang’s \u003cem>\u003ca href=\"https://keithuhlich.substack.com/p/a-rimbaud\">A. Rimbaud\u003c/a>\u003c/em> for Aug. 2. Future screenings will include Artemis Shaw’s \u003ca href=\"https://www.artemisshaw.com/eye\">\u003cem>Removal of the Eye\u003c/em>\u003c/a> and Sofia Bohdanowicz’s \u003ca href=\"https://www.sofiabohdanowicz.com/films-1/measures-for-a-funeral\">\u003cem>Measures for a Funeral\u003c/em>\u003c/a>. \u003c/p>\n\n\n\n\u003cp>It’s no accident the series launched in spring, Kiefer says: “You start to see flowers blooming, and there’s a hope that’s associated with that.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>‘\u003cem>\u003ca href=\"https://www.tickettailor.com/events/shapeshifterscinema/2202635\">Revelations of Divine Love\u003c/a>’ screens Sunday, June 21, at 2 p.m. at Shapeshifters Cinema (857 5th St., Oakland). Director Caroline Golum will be in attendance.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aurora-theatre-berkeley-reopen-new-leadership",
"title": "Aurora Theatre to Reopen Under New Leadership",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/aurora-theatre\">Aurora Theatre\u003c/a> announced it was suspending productions last summer, audiences worried the 33-year-old theater wouldn’t make it through a year of hibernation. So many other theaters, both experimental and mainstream, had closed in recent years: \u003ca href=\"https://www.kqed.org/arts/13961349/farewell-to-cutting-ball-theater-a-bastion-of-fearless-experimentation\">Cutting Ball\u003c/a>, Theater First, \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\">PianoFight\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">Cal Shakes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13929386/bay-area-childrens-theatre-to-close-citing-financial-challenges\">Bay Area Children’s Theatre\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Bucking that trend, Aurora Theatre announced its return on Monday under the new leadership of Artistic Director Jennifer King and Managing Director Jenn Ruygt. The theater will return to producing shows in the 2027/2028 season.\u003c/p>\n\n\n\n\n\n\u003cp>Both King and Ruygt have a history with the company. King was a frequent Aurora actor and director; she directed \u003cem>\u003ca href=\"https://www.auroratheatre.org/search-for-signs\">The Search for Signs of Intelligent Life in the Universe\u003c/a>\u003c/em>, Aurora’s last show before the 2025 closure. Ruygt was previously the company’s production manager.\u003c/p>\n\n\n\n\u003cp>When the theater closed last year, it had a $500,000 operating deficit. “We’ve taken the past nine months to really get our ducks in a row so we can move out of having to be in crisis management,” King told KQED. “That means being really responsible, both fiscally and artistically, with our community.”\u003c/p>\n\n\n\n\u003cp>Many details about Aurora’s return are yet to be determined. King and Ruygt hope to remain in Berkeley — whether as a roving project or a brick-and-mortar space, which may be decided by trying out both.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the first update in a series of updates,” Ruygt said.\u003c/p>\n\n\n\n\u003cp>Aurora fans may also be wondering about the theater’s distinctive thrust stage, the one that made audiences feel like they were part of the action. King said that even if their future space lacks that specific characteristic, that “intimacy” will be part of the experience.\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/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen.jpg\" alt=\"\" class=\"wp-image-13977150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lisa Anne Porter, Elizabeth Carter, Rolf Saxon, Teddy Spencer, and Charisse Loriaux in Aurora Theatre Company’s world premiere of ‘Eureka Day’ in 2018. (David Allen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Founded in 1992 by Barbara Oliver, Aurora Theatre became known over the decades for its high-quality productions with talented local actors. By restarting the program, King and Ruygt inherit Aurora’s reputation with both audiences and the local theater community.\u003c/p>\n\n\n\n\u003cp>“We look at Berkeley Rep, we look at ACT, and they’ve really moved to a different model. They utilize local actors, but they really have become places where you’re seeing things either come from New York or move on to New York,” King said. (Aurora has also produced New York-bound shows, including the Tony Award-winning \u003cem>\u003ca href=\"https://www.kqed.org/arts/13980686/eureka-day-marin-theatre-aurora-mill-valley-covid\">Eureka Day\u003c/a>\u003c/em> in 2018.)\u003c/p>\n\n\n\n\u003cp>King’s point is that Aurora played an important role in the ecology of the local theater scene — what theater critic \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">Lily Janiak called\u003c/a> “a ladder from ‘Here I am making theater with my college buddies on $1,000,’ to something with more prominence and more reach.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>“What we heard over and over again is that artists and artisans reached for the opportunity to work at the Aurora,” King said, explaining that bringing it back isn’t about staking a personal claim. “It is the Bay Area’s theater company.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Both King and Ruygt have a history with the company. King was a frequent Aurora actor and director; she directed \u003cem>\u003ca href=\"https://www.auroratheatre.org/search-for-signs\">The Search for Signs of Intelligent Life in the Universe\u003c/a>\u003c/em>, Aurora’s last show before the 2025 closure. Ruygt was previously the company’s production manager.\u003c/p>\n",
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"innerHTML": "\n\u003cp>When the theater closed last year, it had a $500,000 operating deficit. “We’ve taken the past nine months to really get our ducks in a row so we can move out of having to be in crisis management,” King told KQED. “That means being really responsible, both fiscally and artistically, with our community.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Many details about Aurora’s return are yet to be determined. King and Ruygt hope to remain in Berkeley — whether as a roving project or a brick-and-mortar space, which may be decided by trying out both.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Aurora fans may also be wondering about the theater’s distinctive thrust stage, the one that made audiences feel like they were part of the action. King said that even if their future space lacks that specific characteristic, that “intimacy” will be part of the experience.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Founded in 1992 by Barbara Oliver, Aurora Theatre became known over the decades for its high-quality productions with talented local actors. By restarting the program, King and Ruygt inherit Aurora’s reputation with both audiences and the local theater community.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We look at Berkeley Rep, we look at ACT, and they’ve really moved to a different model. They utilize local actors, but they really have become places where you’re seeing things either come from New York or move on to New York,” King said. (Aurora has also produced New York-bound shows, including the Tony Award-winning \u003cem>\u003ca href=\"https://www.kqed.org/arts/13980686/eureka-day-marin-theatre-aurora-mill-valley-covid\">Eureka Day\u003c/a>\u003c/em> in 2018.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>King’s point is that Aurora played an important role in the ecology of the local theater scene — what theater critic \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">Lily Janiak called\u003c/a> “a ladder from ‘Here I am making theater with my college buddies on $1,000,’ to something with more prominence and more reach.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“What we heard over and over again is that artists and artisans reached for the opportunity to work at the Aurora,” King said, explaining that bringing it back isn’t about staking a personal claim. “It is the Bay Area’s theater company.”\u003c/p>\n",
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"excerpt": "The beloved Berkeley theater suspended programming last summer. Now two directors are bringing it back.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/aurora-theatre\">Aurora Theatre\u003c/a> announced it was suspending productions last summer, audiences worried the 33-year-old theater wouldn’t make it through a year of hibernation. So many other theaters, both experimental and mainstream, had closed in recent years: \u003ca href=\"https://www.kqed.org/arts/13961349/farewell-to-cutting-ball-theater-a-bastion-of-fearless-experimentation\">Cutting Ball\u003c/a>, Theater First, \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\">PianoFight\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">Cal Shakes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13929386/bay-area-childrens-theatre-to-close-citing-financial-challenges\">Bay Area Children’s Theatre\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Bucking that trend, Aurora Theatre announced its return on Monday under the new leadership of Artistic Director Jennifer King and Managing Director Jenn Ruygt. The theater will return to producing shows in the 2027/2028 season.\u003c/p>\n\n\n\n\n\n\u003cp>Both King and Ruygt have a history with the company. King was a frequent Aurora actor and director; she directed \u003cem>\u003ca href=\"https://www.auroratheatre.org/search-for-signs\">The Search for Signs of Intelligent Life in the Universe\u003c/a>\u003c/em>, Aurora’s last show before the 2025 closure. Ruygt was previously the company’s production manager.\u003c/p>\n\n\n\n\u003cp>When the theater closed last year, it had a $500,000 operating deficit. “We’ve taken the past nine months to really get our ducks in a row so we can move out of having to be in crisis management,” King told KQED. “That means being really responsible, both fiscally and artistically, with our community.”\u003c/p>\n\n\n\n\u003cp>Many details about Aurora’s return are yet to be determined. King and Ruygt hope to remain in Berkeley — whether as a roving project or a brick-and-mortar space, which may be decided by trying out both.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the first update in a series of updates,” Ruygt said.\u003c/p>\n\n\n\n\u003cp>Aurora fans may also be wondering about the theater’s distinctive thrust stage, the one that made audiences feel like they were part of the action. King said that even if their future space lacks that specific characteristic, that “intimacy” will be part of the experience.\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/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen.jpg\" alt=\"\" class=\"wp-image-13977150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/EurekaDay.AuroraTheatre.DavidAllen-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lisa Anne Porter, Elizabeth Carter, Rolf Saxon, Teddy Spencer, and Charisse Loriaux in Aurora Theatre Company’s world premiere of ‘Eureka Day’ in 2018. (David Allen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Founded in 1992 by Barbara Oliver, Aurora Theatre became known over the decades for its high-quality productions with talented local actors. By restarting the program, King and Ruygt inherit Aurora’s reputation with both audiences and the local theater community.\u003c/p>\n\n\n\n\u003cp>“We look at Berkeley Rep, we look at ACT, and they’ve really moved to a different model. They utilize local actors, but they really have become places where you’re seeing things either come from New York or move on to New York,” King said. (Aurora has also produced New York-bound shows, including the Tony Award-winning \u003cem>\u003ca href=\"https://www.kqed.org/arts/13980686/eureka-day-marin-theatre-aurora-mill-valley-covid\">Eureka Day\u003c/a>\u003c/em> in 2018.)\u003c/p>\n\n\n\n\u003cp>King’s point is that Aurora played an important role in the ecology of the local theater scene — what theater critic \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">Lily Janiak called\u003c/a> “a ladder from ‘Here I am making theater with my college buddies on $1,000,’ to something with more prominence and more reach.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>“What we heard over and over again is that artists and artisans reached for the opportunity to work at the Aurora,” King said, explaining that bringing it back isn’t about staking a personal claim. “It is the Bay Area’s theater company.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Most Affordable Art Supply Store Is Moving",
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"content": "\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n\n\n\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n\n\n\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n\n\n\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n\n\n\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n\n\n\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n\n\n\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n\n\n\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n\n\n\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n\n\n\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n\n\n\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n\n\n\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n\n\n\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘For everyone’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n\n\n\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n\n\n\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n\n\n\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n\n\n\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n",
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"\n\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n",
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"\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n",
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"\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n"
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"innerHTML": "\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n",
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"\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.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/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building.\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/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\"/>\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n",
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"\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n",
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"\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n"
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"attrs": {
"text": "Scrapper’s delight",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n",
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"innerHTML": "\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n",
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"\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n",
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"\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n"
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"innerHTML": "\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n",
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"\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.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/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP.\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/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\"/>\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n",
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"\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n",
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"\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n"
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n",
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"\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n",
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"\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n"
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"innerHTML": "\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n",
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"\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\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/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n",
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"\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n",
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"innerHTML": "\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n",
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"\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n",
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"\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \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/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\"/>\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n",
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"\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n"
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"innerHTML": "\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n",
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"\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n",
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"\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n",
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"\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n",
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"\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n",
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"\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n"
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"excerpt": "SCRAP, the 50-year-old creative reuse center, will move into a building of its own in August 2026.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n\n\n\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n\n\n\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n\n\n\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n\n\n\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n\n\n\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n\n\n\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n\n\n\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n\n\n\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n\n\n\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n\n\n\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n\n\n\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n\n\n\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘For everyone’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n\n\n\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n\n\n\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n\n\n\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n\n\n\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">electronic music festival\u003c/a>, staged annually at San Francisco’s Pier 80, has just announced its 2026 lineup. \u003c/p>\n\n\n\n\u003cp>Swedes make a strong showing on both days of the Portola Festival, with dance icon Robyn headlining Saturday, Sept. 26, and Swedish House Mafia occupying the same spot on Sept. 27. Co-headlining with Robyn is Dog Blood, a project by Skrillex and Boys Noize, reuniting for the first time since 2019 in their only performance of the year.\u003c/p>\n\n\n\n\u003cp>Other big names on Saturday include big beat veteran Fatboy Slim, pop artist Tove Lo (another Swede), and a DJ set from Melanie C on Saturday. On Sunday, Tiësto plays in the Warehouse, while hitmaker Zara Larsson (yet another Swede!), indie electronic artist Four Tet, and in-demand producer SG Lewis (performing live) take to the outdoor stages. \u003c/p>\n\n\n\n\u003cp>Despacio, the James Murphy (of LCD Soundsystem)–designed “immersive audio experience,” returns to the festival for the entire weekend. Last year, \u003ca href=\"https://www.kqed.org/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos\">KQED described\u003c/a> the all-vinyl sound system as a room that “made it easy to lose track of time.”\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">Passes go on sale\u003c/a> Tuesday, June 2, at 12 p.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Other big names on Saturday include big beat veteran Fatboy Slim, pop artist Tove Lo (another Swede), and a DJ set from Melanie C on Saturday. On Sunday, Tiësto plays in the Warehouse, while hitmaker Zara Larsson (yet another Swede!), indie electronic artist Four Tet, and in-demand producer SG Lewis (performing live) take to the outdoor stages. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Despacio, the James Murphy (of LCD Soundsystem)–designed “immersive audio experience,” returns to the festival for the entire weekend. Last year, \u003ca href=\"https://www.kqed.org/arts/13981607/portola-festival-2025-pier-80-san-francisco-review-photos\">KQED described\u003c/a> the all-vinyl sound system as a room that “made it easy to lose track of time.”\u003c/p>\n",
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"content": "\u003cp>San Francisco is blessed with not just one, but two science museums that cater to adults with weekly after-hours events. Tactile domes and planetariums — not just for kids! Over the past decade, the \u003ca href=\"https://www.kqed.org/arts/tag/exploratorium\">Exploratorium\u003c/a>’s After Dark and the \u003ca href=\"https://www.kqed.org/news/tag/california-academy-of-sciences\">California Academy of Science\u003c/a>’s NightLife (both on Thursdays), have become go-to date nights. Both offer drinks, DJs and hands-on, thematic activities.\u003c/p>\n\n\n\n\u003cp>But only one museum throws experimental sound performances into the mix. The Exploratorium’s \u003cem>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance\">Resonance\u003c/a>\u003c/em> series, which restarted after a long hiatus last summer, is a pocket of boundary-pushing noise in the midst of a building-wide party. The season kicked off Aug. 21 with a performance by \u003ca href=\"https://www.evicshen.com/\">Evicshen\u003c/a>, and closes May 28 with \u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Circuit des Yeux\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Wayne Grim, a longtime Exploratorium employee and the curator of the series, says the shows are all about offering audiences something they haven’t heard before. “Whether it’s through someone doing something more experimental, or through music from a culture that they’re completely unfamiliar with,” he says, “or instruments that they’ve never seen before, or a process of making music that most people are completely unfamiliar with.”\u003c/p>\n\n\n\n\u003cp>For Evicshen’s season opener last August, San Francisco artist Victoria Shen unleashed her self-described “chaotic sound” in the museum’s observatory, manipulating conventional and handmade instruments as the sky darkened around the Bay Bridge behind her. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=OK78nJpKyrs\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Artists are invited to work with the museum’s fabricators and scientists. Play, essential to the spirit of the Exploratorium, is welcome. “When we invite people, we say … ‘Would you like to experiment? What would you do if you could do anything you wanted to — you don’t have to do your regular set or your regular thing,’” Grim says. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite Shen’s foray onto the observatory deck, most \u003cem>Resonance\u003c/em> performances happen in the Kanbar Forum, a 200-seat theater with a deluxe Meyer sound system. According to Grim, “It’s a small, intimate space that is just a really great experience for the audience.” Each show is thoroughly documented, including the Q&A that follows each performance. The videos are uploaded to the museum’s YouTube afterwards.\u003c/p>\n\n\n\n\u003cp>For the May 28 show, fans of \u003ca href=\"https://circuitdesyeux.com/\">Circuit des Yeux\u003c/a> (celebrated, experimental Chicago musician Haley Fohr, who has a four-octave range) will get to experience \u003cem>Wordless Music\u003c/em>, a voice piece Fohr first performed in 2019. The hour of resonant voice and durational drone is now a duet with Alan Sparhawk of Low. At a \u003ca href=\"https://www.youtube.com/watch?v=Cr1VcKU-CAg\">recent show\u003c/a> at the Guggenheim Museum in New York, Fohr wore a crown of butterflies, Sparhawk a ghillie suit. Fohr called the performance “not for the faint of heart.”\u003c/p>\n\n\n\n\u003cp>This kind of rare occurrence — a piece that’s only being performed a few times across the country — is exactly the type of \u003cem>Resonance\u003c/em> programming Grim hopes to reestablish as the series continues. “I would like the Exploratorium to be more known as a place where sound is really important, and sound is something that we’re really excited to work with,” he says.\u003c/p>\n\n\n\n\u003cp>“I would just say keep your eyes out — or keep your ears out — for new things,” he adds, “because we’re going to have some really exciting shows coming up in the future and I hope to see more people there.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Resonance: Circuit des Yeux featuring Alan Sparhawk\u003c/a>’ takes place Thursday, May 28, 7:30 p.m. at the Exploratorium (Pier 15, San Francisco).\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Artists are invited to work with the museum’s fabricators and scientists. Play, essential to the spirit of the Exploratorium, is welcome. “When we invite people, we say … ‘Would you like to experiment? What would you do if you could do anything you wanted to — you don’t have to do your regular set or your regular thing,’” Grim says. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Despite Shen’s foray onto the observatory deck, most \u003cem>Resonance\u003c/em> performances happen in the Kanbar Forum, a 200-seat theater with a deluxe Meyer sound system. According to Grim, “It’s a small, intimate space that is just a really great experience for the audience.” Each show is thoroughly documented, including the Q&A that follows each performance. The videos are uploaded to the museum’s YouTube afterwards.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For the May 28 show, fans of \u003ca href=\"https://circuitdesyeux.com/\">Circuit des Yeux\u003c/a> (celebrated, experimental Chicago musician Haley Fohr, who has a four-octave range) will get to experience \u003cem>Wordless Music\u003c/em>, a voice piece Fohr first performed in 2019. The hour of resonant voice and durational drone is now a duet with Alan Sparhawk of Low. At a \u003ca href=\"https://www.youtube.com/watch?v=Cr1VcKU-CAg\">recent show\u003c/a> at the Guggenheim Museum in New York, Fohr wore a crown of butterflies, Sparhawk a ghillie suit. Fohr called the performance “not for the faint of heart.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>This kind of rare occurrence — a piece that’s only being performed a few times across the country — is exactly the type of \u003cem>Resonance\u003c/em> programming Grim hopes to reestablish as the series continues. “I would like the Exploratorium to be more known as a place where sound is really important, and sound is something that we’re really excited to work with,” he says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I would just say keep your eyes out — or keep your ears out — for new things,” he adds, “because we’re going to have some really exciting shows coming up in the future and I hope to see more people there.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Resonance: Circuit des Yeux featuring Alan Sparhawk\u003c/a>’ takes place Thursday, May 28, 7:30 p.m. at the Exploratorium (Pier 15, San Francisco).\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is blessed with not just one, but two science museums that cater to adults with weekly after-hours events. Tactile domes and planetariums — not just for kids! Over the past decade, the \u003ca href=\"https://www.kqed.org/arts/tag/exploratorium\">Exploratorium\u003c/a>’s After Dark and the \u003ca href=\"https://www.kqed.org/news/tag/california-academy-of-sciences\">California Academy of Science\u003c/a>’s NightLife (both on Thursdays), have become go-to date nights. Both offer drinks, DJs and hands-on, thematic activities.\u003c/p>\n\n\n\n\u003cp>But only one museum throws experimental sound performances into the mix. The Exploratorium’s \u003cem>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance\">Resonance\u003c/a>\u003c/em> series, which restarted after a long hiatus last summer, is a pocket of boundary-pushing noise in the midst of a building-wide party. The season kicked off Aug. 21 with a performance by \u003ca href=\"https://www.evicshen.com/\">Evicshen\u003c/a>, and closes May 28 with \u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Circuit des Yeux\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Wayne Grim, a longtime Exploratorium employee and the curator of the series, says the shows are all about offering audiences something they haven’t heard before. “Whether it’s through someone doing something more experimental, or through music from a culture that they’re completely unfamiliar with,” he says, “or instruments that they’ve never seen before, or a process of making music that most people are completely unfamiliar with.”\u003c/p>\n\n\n\n\u003cp>For Evicshen’s season opener last August, San Francisco artist Victoria Shen unleashed her self-described “chaotic sound” in the museum’s observatory, manipulating conventional and handmade instruments as the sky darkened around the Bay Bridge behind her. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OK78nJpKyrs'\n title='//www.youtube.com/embed/OK78nJpKyrs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Artists are invited to work with the museum’s fabricators and scientists. Play, essential to the spirit of the Exploratorium, is welcome. “When we invite people, we say … ‘Would you like to experiment? What would you do if you could do anything you wanted to — you don’t have to do your regular set or your regular thing,’” Grim says. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite Shen’s foray onto the observatory deck, most \u003cem>Resonance\u003c/em> performances happen in the Kanbar Forum, a 200-seat theater with a deluxe Meyer sound system. According to Grim, “It’s a small, intimate space that is just a really great experience for the audience.” Each show is thoroughly documented, including the Q&A that follows each performance. The videos are uploaded to the museum’s YouTube afterwards.\u003c/p>\n\n\n\n\u003cp>For the May 28 show, fans of \u003ca href=\"https://circuitdesyeux.com/\">Circuit des Yeux\u003c/a> (celebrated, experimental Chicago musician Haley Fohr, who has a four-octave range) will get to experience \u003cem>Wordless Music\u003c/em>, a voice piece Fohr first performed in 2019. The hour of resonant voice and durational drone is now a duet with Alan Sparhawk of Low. At a \u003ca href=\"https://www.youtube.com/watch?v=Cr1VcKU-CAg\">recent show\u003c/a> at the Guggenheim Museum in New York, Fohr wore a crown of butterflies, Sparhawk a ghillie suit. Fohr called the performance “not for the faint of heart.”\u003c/p>\n\n\n\n\u003cp>This kind of rare occurrence — a piece that’s only being performed a few times across the country — is exactly the type of \u003cem>Resonance\u003c/em> programming Grim hopes to reestablish as the series continues. “I would like the Exploratorium to be more known as a place where sound is really important, and sound is something that we’re really excited to work with,” he says.\u003c/p>\n\n\n\n\u003cp>“I would just say keep your eyes out — or keep your ears out — for new things,” he adds, “because we’re going to have some really exciting shows coming up in the future and I hope to see more people there.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.exploratorium.edu/visit/calendar/resonance-circuit-des-yeux\">Resonance: Circuit des Yeux featuring Alan Sparhawk\u003c/a>’ takes place Thursday, May 28, 7:30 p.m. at the Exploratorium (Pier 15, San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in September 2024, when the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a> was first announced, the coordinated program of exhibitions and events seemed awfully far away. Now, March 10–June 10, 2027 is just around the corner, and the much-anticipated finer details of this celebration of Bay Area art — past and present — are finally coming into focus.\u003c/p>\n\u003cp>Today, the triennial announced 17 recipients of its Community Impact Fund: grants of $20,000 each for arts organizations with QTBIPOC leadership and operating budgets under $2 million. The funds help ensure that smaller projects and spaces can participate in the triennial, alongside major players like the San Francisco Museum of Modern Art and the Oakland Museum of California.\u003c/p>\n\u003cp>[aside postID='arts_13965626' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240820_BMalone_FurtherTriennial_COVER-1020x574.jpg']Over \u003ca href=\"https://furthertriennial.org/collaborators/\">80 institutions\u003c/a> are already planning to participate in \u003ci>Around Here\u003c/i>, as the inaugural triennial is titled; the programming will include sites from Santa Cruz to Sacramento.\u003c/p>\n\u003cp>“The Bay Area is home to a remarkable constellation of organizations, many devoted to distinct communities that are working with scarce means,” said Kevin B. Chen in today’s announcement. Chen was one of four jurors who evaluated applications for the Community Impact Fund; final recipients were chosen by a randomized process.\u003c/p>\n\u003cp>“The team behind Further Triennial moves with a keen awareness of this vast cultural ecosystem,” Chen stated, “guided by a commitment to ensure that even those without deep reserves can bring their visions to life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Awarded projects include a site-specific wheatpaste installation; artists in dialogue with a collection of queer erotic photography; and a celebration of 50 years of Precita Eyes’ neighborhood murals.\u003c/p>\n\u003cfigure id=\"attachment_13989586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg\" alt=\"galley view with Mission-like structure and cemetery\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation image of ‘California Mission Daze,’ 1988, to be reimagined for ‘James Luna: Mission Daze (Remezca)’ at Southern Exposure. \u003ccite>(Courtesy of Garth Green Gallery and estate of James Luna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more ambitious presentations is Southern Exposure’s reimagined display of the show \u003ci>California Mission Daze\u003c/i>, first held in San Diego’s Installation Gallery. The \u003ca href=\"https://www.latimes.com/archives/la-xpm-1988-10-12-ca-3251-story.html\">original 1988 exhibition\u003c/a>, created by artists David Avalos, James Luna and Deborah Small along with historian William Weeks, turned a critical eye to the mission system and its treatment of Indigenous people. (The show took place just after Junípero Serra was beatified by the Catholic church; the Spanish missionary was canonized as a saint in 2015.)\u003c/p>\n\u003cp>EastSide Arts Alliance will host two grant-supported shows. One, presented by NAKA Dance Theater, features the textile art of Indigenous Maya Mam women living in East Oakland. The other is a solo show of work by contemporary local artist \u003ca href=\"https://www.conniezheng.com/\">Connie Zheng\u003c/a>, who will map the grassroots, underground networks created by community-led health programs over the past 60 years.\u003c/p>\n\u003cfigure id=\"attachment_13989587\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg\" alt=\"exposed beams with hanging red fabric sculpture underneath\" width=\"1240\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-768x512.jpg 768w\" sizes=\"auto, (max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Kerri Conlon, ‘Untitled Canopy,’ 2023; Conlon and Leila Weefur will be part of ‘CHURCH,’ curated by marcella faustini at Minnesota Street Project Foundation. \u003ccite>(Courtesy the artist and Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grant recipients include both physical spaces (Santa Cruz’s Indexical, San Francisco’s Root Division) and roving projects like Muni Raised Me, an artist collective responsible for the vibrant, titular \u003ca href=\"https://www.kqed.org/arts/13926133/muni-raised-me-somarts-san-francisco\">SOMArts show in 2023\u003c/a>. (They’re the ones with the tricked-out, decommissioned Muni bus.) For the full list of grantees, see below.\u003c/p>\n\u003ch2>Community Impact Fund grantees\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>500 Capp Street Foundation\u003cbr>\nBlack Panther Party Museum\u003cbr>\nBob Mizer Museum and Photographic Archives\u003cbr>\nChinese Historical Society of America\u003cbr>\nEastSide Arts Alliance\u003cbr>\nHip Hop For Change\u003cbr>\nIndexical\u003cbr>\nKala Art Institute\u003cbr>\nMinnesota Street Project Foundation\u003cbr>\nMuni Raised Me\u003cbr>\nNAKA Dance Theater\u003cbr>\nPrecita Eyes Muralists\u003cbr>\nRoot Division\u003cbr>\nSanta Cruz Museum of Art & History\u003cbr>\nSlash\u003cbr>\nSmall Press Traffic\u003cbr>\nSouthern Exposure\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over \u003ca href=\"https://furthertriennial.org/collaborators/\">80 institutions\u003c/a> are already planning to participate in \u003ci>Around Here\u003c/i>, as the inaugural triennial is titled; the programming will include sites from Santa Cruz to Sacramento.\u003c/p>\n\u003cp>“The Bay Area is home to a remarkable constellation of organizations, many devoted to distinct communities that are working with scarce means,” said Kevin B. Chen in today’s announcement. Chen was one of four jurors who evaluated applications for the Community Impact Fund; final recipients were chosen by a randomized process.\u003c/p>\n\u003cp>“The team behind Further Triennial moves with a keen awareness of this vast cultural ecosystem,” Chen stated, “guided by a commitment to ensure that even those without deep reserves can bring their visions to life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Awarded projects include a site-specific wheatpaste installation; artists in dialogue with a collection of queer erotic photography; and a celebration of 50 years of Precita Eyes’ neighborhood murals.\u003c/p>\n\u003cfigure id=\"attachment_13989586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg\" alt=\"galley view with Mission-like structure and cemetery\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation image of ‘California Mission Daze,’ 1988, to be reimagined for ‘James Luna: Mission Daze (Remezca)’ at Southern Exposure. \u003ccite>(Courtesy of Garth Green Gallery and estate of James Luna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more ambitious presentations is Southern Exposure’s reimagined display of the show \u003ci>California Mission Daze\u003c/i>, first held in San Diego’s Installation Gallery. The \u003ca href=\"https://www.latimes.com/archives/la-xpm-1988-10-12-ca-3251-story.html\">original 1988 exhibition\u003c/a>, created by artists David Avalos, James Luna and Deborah Small along with historian William Weeks, turned a critical eye to the mission system and its treatment of Indigenous people. (The show took place just after Junípero Serra was beatified by the Catholic church; the Spanish missionary was canonized as a saint in 2015.)\u003c/p>\n\u003cp>EastSide Arts Alliance will host two grant-supported shows. One, presented by NAKA Dance Theater, features the textile art of Indigenous Maya Mam women living in East Oakland. The other is a solo show of work by contemporary local artist \u003ca href=\"https://www.conniezheng.com/\">Connie Zheng\u003c/a>, who will map the grassroots, underground networks created by community-led health programs over the past 60 years.\u003c/p>\n\u003cfigure id=\"attachment_13989587\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg\" alt=\"exposed beams with hanging red fabric sculpture underneath\" width=\"1240\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-768x512.jpg 768w\" sizes=\"auto, (max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Kerri Conlon, ‘Untitled Canopy,’ 2023; Conlon and Leila Weefur will be part of ‘CHURCH,’ curated by marcella faustini at Minnesota Street Project Foundation. \u003ccite>(Courtesy the artist and Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grant recipients include both physical spaces (Santa Cruz’s Indexical, San Francisco’s Root Division) and roving projects like Muni Raised Me, an artist collective responsible for the vibrant, titular \u003ca href=\"https://www.kqed.org/arts/13926133/muni-raised-me-somarts-san-francisco\">SOMArts show in 2023\u003c/a>. (They’re the ones with the tricked-out, decommissioned Muni bus.) For the full list of grantees, see below.\u003c/p>\n\u003ch2>Community Impact Fund grantees\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>500 Capp Street Foundation\u003cbr>\nBlack Panther Party Museum\u003cbr>\nBob Mizer Museum and Photographic Archives\u003cbr>\nChinese Historical Society of America\u003cbr>\nEastSide Arts Alliance\u003cbr>\nHip Hop For Change\u003cbr>\nIndexical\u003cbr>\nKala Art Institute\u003cbr>\nMinnesota Street Project Foundation\u003cbr>\nMuni Raised Me\u003cbr>\nNAKA Dance Theater\u003cbr>\nPrecita Eyes Muralists\u003cbr>\nRoot Division\u003cbr>\nSanta Cruz Museum of Art & History\u003cbr>\nSlash\u003cbr>\nSmall Press Traffic\u003cbr>\nSouthern Exposure\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "visual-art-summer-guide-2026-museum-gallery-shows",
"title": "The 10 Best Museum and Gallery Shows to See in the Bay Area This Summer",
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"headTitle": "The 10 Best Museum and Gallery Shows to See in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Five months into 2026, a lot has happened in the Bay Area’s visual art scene. \u003ca href=\"https://www.kqed.org/arts/13985359/california-college-of-the-arts-closing-vanderbilt-university\">Devastating closures\u003c/a> were \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">announced\u003c/a>, \u003ca href=\"https://www.betterbayarea.org/rally_for_the_arts_at_city_hall\">rallies\u003c/a> were held, \u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">artists joined forces\u003c/a> to advocate for community centers and their funding. Oakland hired a \u003ca href=\"https://oaklandside.org/2026/01/27/oakland-names-cultural-affairs-manager-lyz-luke/\">cultural affairs director\u003c/a>. San Francisco hired an \u003ca href=\"https://www.kqed.org/arts/13988903/san-francisco-appoints-matthew-goudeau-to-top-arts-job\">executive director of arts and culture\u003c/a>. Many of us learned about the nuances of \u003ca href=\"https://missionlocal.org/2026/03/daniel-lurie-city-charter-san-francisco-consolidation/\">city charter reform\u003c/a>.\u003c/p>\n\u003cp>All the while, artists continued to plug away in the face of complex bureaucratic shenanigans. And now, we have a summer full of the fruits of their labor: well-deserved museum exhibitions; exciting gallery solos; and residency open houses that offer art-lovers the bragging rights of seeing projects in their early stages. See you out there!\u003c/p>\n\u003cfigure id=\"attachment_13989197\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg\" alt=\"abstract muted painting with greenery on two panels\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13989197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘healers,’ 2026; Pigment, crystalina, and UV inkjet print on silk sari on linen, 60 x 60 inches. \u003ccite>(Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ranu Mukherjee, ‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/112-ranu-mukherjee-the-long-middle/\">The Long Middle\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 20–July 3, 2026\u003cbr>\nGallery Wendi Norris, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a>, a longtime Bay Area artist and educator who recently decamped to Southern California, returns to San Francisco for her sixth solo show at Gallery Wendi Norris. \u003ci>The Long Middle\u003c/i> will include eight new paintings in Mukherjee’s complex, layered style. Her materials — pigment, crystalina (iridescent glitter), ink, chalk pastel, inkjet print — sit on top of and blend into patterned grounds created with cotton jamdani and silk sari textiles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her abstract, dreamy renderings of plants, animals and interior spaces convey a sense of constant movement and change. The eye cannot quite fix on a foreground, or an order of operations. Instead, Mukherjee presents fragmented, entropic ecosystems, fitting depictions of our current state of environmental, social and political affairs.\u003c/p>\n\u003cfigure id=\"attachment_13989242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg\" alt=\"underwater image of adult arms and swimming child\" width=\"2000\" height=\"1293\" class=\"size-full wp-image-13989242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Larry Sultan, ‘Untitled,’ from the series ‘Swimmers,’ 1978–82; pigment print. \u003ccite>(Courtesy Casemore Gallery and Estate of Larry Sultan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/slice-of-the-pie-2026\">Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 28–Aug. 15, 2026\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>After an onslaught of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery closures\u003c/a> in 2025, this generous group exhibition takes stock of the Bay Area’s commercial landscape and finds reason to be optimistic. Featuring the Bay Area’s “most influential and idiosyncratic” art galleries, and displaying more than 40 artists, \u003ci>Slice of the Pie\u003c/i> includes both the time-honored (Crown Point Press, founded in 1962) and the young upstarts (Jonathan Carver Moore, founded in 2023). \u003c/p>\n\u003cp>The very premise of the show reflects the collaboration that has always shaped the Bay Area scene, where chairs are loaned for artist talks, openings are timed to coincide, and gallerists understand they don’t have to exist in a zero-sum game. Come for familiar faces, new artistic discoveries and a heap of wholesomeness that feels very Fraenkel.\u003c/p>\n\u003cfigure id=\"attachment_13989450\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg\" alt=\"ceramic sculpture of green-spotted hands with black tubing tangled around\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Nuwa with Soy Sauce,’ 2023; Porcelain and glaze, water pump, tubing, soy sauce, gold screws and washers, 48 × 40 × 40 in. \u003ccite>(Photo by David Torralva; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://personalspace.space/\">Giant Steps\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 31–July 19, 2026\u003cbr>\n\u003ca href=\"https://personalspace.space/\">Personal Space\u003c/a>, Vallejo\u003c/i>\u003c/p>\n\u003cp>For this show, itinerant ceramicist and erstwhile Bay Area denizen \u003ca href=\"https://www.renieldelrosario.com/\">Reniel Del Rosario\u003c/a> gathers artists using clay in a way that makes you question “why do this this way?” (I’m paraphrasing here.) Artists include Fred DeWitt, Sahar Khoury, Cathy Lu and six others making work that joyfully, playfully, precariously stretches the limits of their chosen material. \u003c/p>\n\u003cp>The exhibition is a smaller-scale, more intimate take on \u003ci>\u003ca href=\"https://rcwg.scrippscollege.edu/blog/exhibitions/81st-scripps-college-ceramic-annual-means-to-an-end/\">Means to an End\u003c/a>\u003c/i>, aka the 81st Scripps College Ceramic Annual (the longest continuous exhibition of contemporary ceramics in the country), a maximalist show curated by Del Rosario earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13989448\" class=\"wp-caption aligncenter\" style=\"max-width: 1777px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg\" alt=\"painting of cat in sunbeam under table\" width=\"1777\" height=\"2000\" class=\"size-full wp-image-13989448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-768x864.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-1365x1536.jpg 1365w\" sizes=\"auto, (max-width: 1777px) 100vw, 1777px\">\u003cfigcaption class=\"wp-caption-text\">Will Yackulic, ‘Winter Sun,’ 2026; Oil on wood panel, 9 x 7.25 inches framed. \u003ccite>(pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.part2gallery.com/upcoming/willyackulic/2026\">Will Yackulic\u003c/a>, ‘A Certain Slant of Light’\u003c/h2>\n\u003cp>\u003ci>June 6–July 18, 2026\u003cbr>\npt.2, Oakland\u003c/i>\u003c/p>\n\u003cp>A friend recently pulled his small, perfect \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">Will Yackulic\u003c/a> painting out of its wrapping and I have rarely been filled with so much covetous envy. \u003ci>Not fair!\u003c/i> I thought. Then I remembered that my eyeballs would soon be treated to a full show of Yackulic’s satisfyingly rendered, delicate observations of daily life. \u003c/p>\n\u003cp>A poetic sample platter of previous paintings, to whet our collective appetite for June: a grocery display of fruit, drenched in gold; a quickly painted assortment of beach detritus; light falling across the electric blue shadows of a picket fence. \u003c/p>\n\u003cfigure id=\"attachment_13989199\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg\" alt=\"beaded artwork of person with hands at head, densely covered in shells and tassels\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Demetri Broxton, ‘Still Waters Run Deep,’ 2025; Japanese & Czech glass beads, sequins, cowrie shells, quartz, pressed glass, wooden beads, brass, silver, rayon chainette, wool, serigraph printed on Japanese sateen cotton, mounted on birch board, 40 x 25 x 1 inches. \u003ccite>(Courtesy of the artist and MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Demetri Broxton, ‘\u003ca href=\"https://www.moadsf.org/exhibitions/ancestral-echoes\">Ancestral Echoes — Crops of Empire\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 10–Aug. 16, 2026\u003cbr>\nMuseum of the African Diaspora, San Francisco\u003c/i>\u003c/p>\n\u003cp>For a decade, MoAD’s Emerging Artist Program has introduced audiences to Bay Area artists on the cusp of wider recognition. Selected artists get a three-month show at the museum; audiences get to say “we saw them back when.” Next on the schedule (after Jasmine Ross’ photo show \u003ci>\u003ca href=\"https://www.moadsf.org/exhibitions/beauty-plus\">Beauty Plus\u003c/a>\u003c/i>) is Demetri Broxton, a mixed media artist who is also somehow the executive director of the arts nonprofit \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a>. \u003c/p>\n\u003cp>In group presentations over the past few years, Broxton’s work has stood out for its density and tactility. With \u003ci>Ancestral Echoes\u003c/i>, he adorns archival photographs, printed on fabric, with sequins, beads, shells and tassels. Loosed from history, black-and-white images become ritual objects that shimmer and sparkle, full of the potential for liveliness — or at least sound and movement — once again.\u003c/p>\n\u003cfigure id=\"attachment_13989198\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg\" alt=\"image of Black woman collaged onto $100 bill\" width=\"1024\" height=\"436\" class=\"size-full wp-image-13989198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-768x327.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Untitled,’ 1975; Photo collage and screen print on paper. \u003ccite>(Courtesy of The Mildred Howard Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mildred Howard, ‘\u003ca href=\"https://museumca.org/on-view/mildred-howard-poetics-of-memory/\">Poetics of Memory\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 12–Oct. 11, 2026\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>It seems impossible that this is the first major museum exhibition for local luminary \u003ca href=\"https://www.kqed.org/arts/13965899/mildred-howard-collaborating-with-the-muses-part-one\">Mildred Howard\u003c/a>. And at the same time, thank goodness Howard and us — the current residents of the Bay Area — are here for this! Over the past five decades, Howard has moved between mediums (collage, found-object sculptures, installations, public art), creating a lyrical and materially inventive body of work. Even when artworks come from very personal sources, like a rediscovered 8mm film she shot as a teenager, Howard elegantly abstracts and extrapolates, pulling together both far-reaching histories and present-day realities. Current contender for show of the year.\u003c/p>\n\u003cfigure id=\"attachment_13989217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg\" alt=\"A tall fence made of white fabric snakes across arid farmland hills\" width=\"1200\" height=\"875\" class=\"size-full wp-image-13989217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-768x560.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Running Fence’ spanned more than 20 miles across Sonoma and Marin Counties — and was on view for just two weeks. \u003ccite>(Jean-Claude/Courtesy Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Christo and Jeanne-Claude, ‘\u003ca href=\"https://museumsc.org/upcoming-exhibitions/\">Running Fence at 50 Years\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 27–Nov. 8, 2026\u003cbr>\nMuseum of Sonoma County, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>The installation is now legendary: the husband-and-wife duo, who had previously wrapped art institutions and monuments, and covered a million square feet of the Australian coast in fabric, worked for four years to erect a 24.5-mile-long fabric fence across the hills of Sonoma and Marin. \u003c/p>\n\u003cp>It took 18 public hearings, three sessions of the Superior Courts of California, a 450-page environmental impact report and the permission of 59 ranchers. (Much of this often-contentious process is documented in the fantastic Maysles brothers’ documentary \u003ci>\u003ca href=\"https://www.criterionchannel.com/running-fence\">Running Fence\u003c/a>\u003c/i>.) Finally, in 1976, the graceful, undulating, white strip of demarcation was installed. It remained on view for just 14 days. The Museum of Sonoma County transports visitors back to this monumental and ephemeral undertaking. And if it all seems like just yesterday, they’re \u003ca href=\"https://form.jotform.com/260627520652151\">currently soliciting\u003c/a> firsthand accounts!\u003c/p>\n\u003cfigure id=\"attachment_13980309\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg\" alt=\"crowd seated on outdoor steps watching electronic music performance\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Spring Open House 2025 at Headlands Center for the Arts. \u003ccite>(Tom Idle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Residency open houses\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.headlands.org/event/summer-open-house-2026/\">Summer Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 19, 12–5 p.m.\u003cbr>\nHeadlands Center for the Arts, Sausalito\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.winslowhouseproject.org/visit-1/january-25-en2pw-bkf7d-wbwya-mfwal\">July 2026 Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 26, 3–7 p.m.\u003cbr>\nWinslow House Project, Vallejo\u003c/i>\u003c/p>\n\u003cp>As much as art benefits from a formal presentation within white walls, there’s something extra special about glimpsing in-progress work at the site of its making. Two local residencies offer opportunities to tour their grounds (one a former military site in the Marin Headlands, the other a grand, historic farmhouse in the heart of Vallejo) and mingle with artists in residence. Expect screenings, performances, tasty foodstuffs and time well spent. \u003c/p>\n\u003cfigure id=\"attachment_13989240\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg\" alt=\"a spread of socket wrenches arranged in an arc\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, inspiration image from ‘Las Frutas del Labor,’ 2026. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Marcel Pardo Ariza, ‘\u003ca href=\"https://bampfa.org/program/art-wall-marcel-pardo-ariza-las-frutas-del-labor\">Las Frutas del Labor\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Aug. 5, 2026–July 11, 2027\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>It’s been 10 years since BAMPFA moved to its Center Street location, and one of the enduring benefits of this site (in addition to easy BART access, red stairwells and great programming), is the museum’s Art Wall. The 63-foot-wide space has hosted \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">urgent statements\u003c/a>, \u003ca href=\"https://bampfa.org/program/art-wall-stephanie-syjuco-present-tense-roll-call\">pointed investigations\u003c/a> and “murals” that stretch \u003ca href=\"https://bampfa.org/program/art-wall-terri-friedman\">well beyond\u003c/a> paint on drywall. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The next installation, an homage to art handlers, comes from Oakland artist \u003ca href=\"https://www.kqed.org/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf\">Marcel Pardo Ariza\u003c/a>. Together with Ambrose Trataris, Ariza is co-founder of \u003ca href=\"https://www.arthandlxrs.com/\">Arthandlxrs*\u003c/a>, an organization and publication that advocates for marginalized communities within the profession — an often-invisible but vitally important role in the presentation and appreciation of art. Expect some meta-moments; I’m sure BAMPFA art handlers will have their hands (literally) in the mix.\u003c/p>\n\n",
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"title": "The 10 Best Museum and Gallery Shows to See in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Five months into 2026, a lot has happened in the Bay Area’s visual art scene. \u003ca href=\"https://www.kqed.org/arts/13985359/california-college-of-the-arts-closing-vanderbilt-university\">Devastating closures\u003c/a> were \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">announced\u003c/a>, \u003ca href=\"https://www.betterbayarea.org/rally_for_the_arts_at_city_hall\">rallies\u003c/a> were held, \u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">artists joined forces\u003c/a> to advocate for community centers and their funding. Oakland hired a \u003ca href=\"https://oaklandside.org/2026/01/27/oakland-names-cultural-affairs-manager-lyz-luke/\">cultural affairs director\u003c/a>. San Francisco hired an \u003ca href=\"https://www.kqed.org/arts/13988903/san-francisco-appoints-matthew-goudeau-to-top-arts-job\">executive director of arts and culture\u003c/a>. Many of us learned about the nuances of \u003ca href=\"https://missionlocal.org/2026/03/daniel-lurie-city-charter-san-francisco-consolidation/\">city charter reform\u003c/a>.\u003c/p>\n\u003cp>All the while, artists continued to plug away in the face of complex bureaucratic shenanigans. And now, we have a summer full of the fruits of their labor: well-deserved museum exhibitions; exciting gallery solos; and residency open houses that offer art-lovers the bragging rights of seeing projects in their early stages. See you out there!\u003c/p>\n\u003cfigure id=\"attachment_13989197\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg\" alt=\"abstract muted painting with greenery on two panels\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13989197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/RMU0229_healers_2026-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘healers,’ 2026; Pigment, crystalina, and UV inkjet print on silk sari on linen, 60 x 60 inches. \u003ccite>(Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ranu Mukherjee, ‘\u003ca href=\"https://gallerywendinorris.com/exhibitions/112-ranu-mukherjee-the-long-middle/\">The Long Middle\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 20–July 3, 2026\u003cbr>\nGallery Wendi Norris, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13969590/sf-ballet-curtain-artist-ranu-mukherjee-cool-britannia\">Ranu Mukherjee\u003c/a>, a longtime Bay Area artist and educator who recently decamped to Southern California, returns to San Francisco for her sixth solo show at Gallery Wendi Norris. \u003ci>The Long Middle\u003c/i> will include eight new paintings in Mukherjee’s complex, layered style. Her materials — pigment, crystalina (iridescent glitter), ink, chalk pastel, inkjet print — sit on top of and blend into patterned grounds created with cotton jamdani and silk sari textiles. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her abstract, dreamy renderings of plants, animals and interior spaces convey a sense of constant movement and change. The eye cannot quite fix on a foreground, or an order of operations. Instead, Mukherjee presents fragmented, entropic ecosystems, fitting depictions of our current state of environmental, social and political affairs.\u003c/p>\n\u003cfigure id=\"attachment_13989242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg\" alt=\"underwater image of adult arms and swimming child\" width=\"2000\" height=\"1293\" class=\"size-full wp-image-13989242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/02-FG_Slice-of-the-Pie_Larry-Sultan_Untitled-from-the-seriest-Swimers-1978-82_2000-1536x993.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Larry Sultan, ‘Untitled,’ from the series ‘Swimmers,’ 1978–82; pigment print. \u003ccite>(Courtesy Casemore Gallery and Estate of Larry Sultan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fraenkelgallery.com/exhibitions/slice-of-the-pie-2026\">Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 28–Aug. 15, 2026\u003cbr>\nFraenkel Gallery, San Francisco\u003c/i>\u003c/p>\n\u003cp>After an onslaught of \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery closures\u003c/a> in 2025, this generous group exhibition takes stock of the Bay Area’s commercial landscape and finds reason to be optimistic. Featuring the Bay Area’s “most influential and idiosyncratic” art galleries, and displaying more than 40 artists, \u003ci>Slice of the Pie\u003c/i> includes both the time-honored (Crown Point Press, founded in 1962) and the young upstarts (Jonathan Carver Moore, founded in 2023). \u003c/p>\n\u003cp>The very premise of the show reflects the collaboration that has always shaped the Bay Area scene, where chairs are loaned for artist talks, openings are timed to coincide, and gallerists understand they don’t have to exist in a zero-sum game. Come for familiar faces, new artistic discoveries and a heap of wholesomeness that feels very Fraenkel.\u003c/p>\n\u003cfigure id=\"attachment_13989450\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg\" alt=\"ceramic sculpture of green-spotted hands with black tubing tangled around\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Cathy-Lu_photo-by-David-Torralva_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Nuwa with Soy Sauce,’ 2023; Porcelain and glaze, water pump, tubing, soy sauce, gold screws and washers, 48 × 40 × 40 in. \u003ccite>(Photo by David Torralva; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://personalspace.space/\">Giant Steps\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>May 31–July 19, 2026\u003cbr>\n\u003ca href=\"https://personalspace.space/\">Personal Space\u003c/a>, Vallejo\u003c/i>\u003c/p>\n\u003cp>For this show, itinerant ceramicist and erstwhile Bay Area denizen \u003ca href=\"https://www.renieldelrosario.com/\">Reniel Del Rosario\u003c/a> gathers artists using clay in a way that makes you question “why do this this way?” (I’m paraphrasing here.) Artists include Fred DeWitt, Sahar Khoury, Cathy Lu and six others making work that joyfully, playfully, precariously stretches the limits of their chosen material. \u003c/p>\n\u003cp>The exhibition is a smaller-scale, more intimate take on \u003ci>\u003ca href=\"https://rcwg.scrippscollege.edu/blog/exhibitions/81st-scripps-college-ceramic-annual-means-to-an-end/\">Means to an End\u003c/a>\u003c/i>, aka the 81st Scripps College Ceramic Annual (the longest continuous exhibition of contemporary ceramics in the country), a maximalist show curated by Del Rosario earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13989448\" class=\"wp-caption aligncenter\" style=\"max-width: 1777px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg\" alt=\"painting of cat in sunbeam under table\" width=\"1777\" height=\"2000\" class=\"size-full wp-image-13989448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000.jpg 1777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-768x864.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/wy_cat-copy_2000-1365x1536.jpg 1365w\" sizes=\"auto, (max-width: 1777px) 100vw, 1777px\">\u003cfigcaption class=\"wp-caption-text\">Will Yackulic, ‘Winter Sun,’ 2026; Oil on wood panel, 9 x 7.25 inches framed. \u003ccite>(pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.part2gallery.com/upcoming/willyackulic/2026\">Will Yackulic\u003c/a>, ‘A Certain Slant of Light’\u003c/h2>\n\u003cp>\u003ci>June 6–July 18, 2026\u003cbr>\npt.2, Oakland\u003c/i>\u003c/p>\n\u003cp>A friend recently pulled his small, perfect \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">Will Yackulic\u003c/a> painting out of its wrapping and I have rarely been filled with so much covetous envy. \u003ci>Not fair!\u003c/i> I thought. Then I remembered that my eyeballs would soon be treated to a full show of Yackulic’s satisfyingly rendered, delicate observations of daily life. \u003c/p>\n\u003cp>A poetic sample platter of previous paintings, to whet our collective appetite for June: a grocery display of fruit, drenched in gold; a quickly painted assortment of beach detritus; light falling across the electric blue shadows of a picket fence. \u003c/p>\n\u003cfigure id=\"attachment_13989199\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg\" alt=\"beaded artwork of person with hands at head, densely covered in shells and tassels\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13989199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Demetri_Broxton-02_01-View_1_2000-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Demetri Broxton, ‘Still Waters Run Deep,’ 2025; Japanese & Czech glass beads, sequins, cowrie shells, quartz, pressed glass, wooden beads, brass, silver, rayon chainette, wool, serigraph printed on Japanese sateen cotton, mounted on birch board, 40 x 25 x 1 inches. \u003ccite>(Courtesy of the artist and MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Demetri Broxton, ‘\u003ca href=\"https://www.moadsf.org/exhibitions/ancestral-echoes\">Ancestral Echoes — Crops of Empire\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 10–Aug. 16, 2026\u003cbr>\nMuseum of the African Diaspora, San Francisco\u003c/i>\u003c/p>\n\u003cp>For a decade, MoAD’s Emerging Artist Program has introduced audiences to Bay Area artists on the cusp of wider recognition. Selected artists get a three-month show at the museum; audiences get to say “we saw them back when.” Next on the schedule (after Jasmine Ross’ photo show \u003ci>\u003ca href=\"https://www.moadsf.org/exhibitions/beauty-plus\">Beauty Plus\u003c/a>\u003c/i>) is Demetri Broxton, a mixed media artist who is also somehow the executive director of the arts nonprofit \u003ca href=\"https://rootdivision.org/\">Root Division\u003c/a>. \u003c/p>\n\u003cp>In group presentations over the past few years, Broxton’s work has stood out for its density and tactility. With \u003ci>Ancestral Echoes\u003c/i>, he adorns archival photographs, printed on fabric, with sequins, beads, shells and tassels. Loosed from history, black-and-white images become ritual objects that shimmer and sparkle, full of the potential for liveliness — or at least sound and movement — once again.\u003c/p>\n\u003cfigure id=\"attachment_13989198\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg\" alt=\"image of Black woman collaged onto $100 bill\" width=\"1024\" height=\"436\" class=\"size-full wp-image-13989198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/2_Mildred-Howard-Untitled-1975.-Photo-collage-and-screen-print-on-paper.-Courtesy-of-The-Mildred-Howard-Archive-The-Bancroft-Library-University-of-California-Berkeley_Side1-1024x436.jpg-768x327.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mildred Howard, ‘Untitled,’ 1975; Photo collage and screen print on paper. \u003ccite>(Courtesy of The Mildred Howard Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mildred Howard, ‘\u003ca href=\"https://museumca.org/on-view/mildred-howard-poetics-of-memory/\">Poetics of Memory\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 12–Oct. 11, 2026\u003cbr>\nOakland Museum of California\u003c/i>\u003c/p>\n\u003cp>It seems impossible that this is the first major museum exhibition for local luminary \u003ca href=\"https://www.kqed.org/arts/13965899/mildred-howard-collaborating-with-the-muses-part-one\">Mildred Howard\u003c/a>. And at the same time, thank goodness Howard and us — the current residents of the Bay Area — are here for this! Over the past five decades, Howard has moved between mediums (collage, found-object sculptures, installations, public art), creating a lyrical and materially inventive body of work. Even when artworks come from very personal sources, like a rediscovered 8mm film she shot as a teenager, Howard elegantly abstracts and extrapolates, pulling together both far-reaching histories and present-day realities. Current contender for show of the year.\u003c/p>\n\u003cfigure id=\"attachment_13989217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg\" alt=\"A tall fence made of white fabric snakes across arid farmland hills\" width=\"1200\" height=\"875\" class=\"size-full wp-image-13989217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Running_Fence_Jean-Claude-Christo-768x560.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Running Fence’ spanned more than 20 miles across Sonoma and Marin Counties — and was on view for just two weeks. \u003ccite>(Jean-Claude/Courtesy Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Christo and Jeanne-Claude, ‘\u003ca href=\"https://museumsc.org/upcoming-exhibitions/\">Running Fence at 50 Years\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 27–Nov. 8, 2026\u003cbr>\nMuseum of Sonoma County, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>The installation is now legendary: the husband-and-wife duo, who had previously wrapped art institutions and monuments, and covered a million square feet of the Australian coast in fabric, worked for four years to erect a 24.5-mile-long fabric fence across the hills of Sonoma and Marin. \u003c/p>\n\u003cp>It took 18 public hearings, three sessions of the Superior Courts of California, a 450-page environmental impact report and the permission of 59 ranchers. (Much of this often-contentious process is documented in the fantastic Maysles brothers’ documentary \u003ci>\u003ca href=\"https://www.criterionchannel.com/running-fence\">Running Fence\u003c/a>\u003c/i>.) Finally, in 1976, the graceful, undulating, white strip of demarcation was installed. It remained on view for just 14 days. The Museum of Sonoma County transports visitors back to this monumental and ephemeral undertaking. And if it all seems like just yesterday, they’re \u003ca href=\"https://form.jotform.com/260627520652151\">currently soliciting\u003c/a> firsthand accounts!\u003c/p>\n\u003cfigure id=\"attachment_13980309\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg\" alt=\"crowd seated on outdoor steps watching electronic music performance\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Spring-Open-House_2025_Photo-by-Tom-Ide_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Spring Open House 2025 at Headlands Center for the Arts. \u003ccite>(Tom Idle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Residency open houses\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.headlands.org/event/summer-open-house-2026/\">Summer Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 19, 12–5 p.m.\u003cbr>\nHeadlands Center for the Arts, Sausalito\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.winslowhouseproject.org/visit-1/january-25-en2pw-bkf7d-wbwya-mfwal\">July 2026 Open House\u003c/a>\u003c/b>\u003cbr>\n\u003ci>July 26, 3–7 p.m.\u003cbr>\nWinslow House Project, Vallejo\u003c/i>\u003c/p>\n\u003cp>As much as art benefits from a formal presentation within white walls, there’s something extra special about glimpsing in-progress work at the site of its making. Two local residencies offer opportunities to tour their grounds (one a former military site in the Marin Headlands, the other a grand, historic farmhouse in the heart of Vallejo) and mingle with artists in residence. Expect screenings, performances, tasty foodstuffs and time well spent. \u003c/p>\n\u003cfigure id=\"attachment_13989240\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg\" alt=\"a spread of socket wrenches arranged in an arc\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Marcel-Pardo-Ariza-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcel Pardo Ariza, inspiration image from ‘Las Frutas del Labor,’ 2026. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Marcel Pardo Ariza, ‘\u003ca href=\"https://bampfa.org/program/art-wall-marcel-pardo-ariza-las-frutas-del-labor\">Las Frutas del Labor\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Aug. 5, 2026–July 11, 2027\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>It’s been 10 years since BAMPFA moved to its Center Street location, and one of the enduring benefits of this site (in addition to easy BART access, red stairwells and great programming), is the museum’s Art Wall. The 63-foot-wide space has hosted \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">urgent statements\u003c/a>, \u003ca href=\"https://bampfa.org/program/art-wall-stephanie-syjuco-present-tense-roll-call\">pointed investigations\u003c/a> and “murals” that stretch \u003ca href=\"https://bampfa.org/program/art-wall-terri-friedman\">well beyond\u003c/a> paint on drywall. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next installation, an homage to art handlers, comes from Oakland artist \u003ca href=\"https://www.kqed.org/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf\">Marcel Pardo Ariza\u003c/a>. Together with Ambrose Trataris, Ariza is co-founder of \u003ca href=\"https://www.arthandlxrs.com/\">Arthandlxrs*\u003c/a>, an organization and publication that advocates for marginalized communities within the profession — an often-invisible but vitally important role in the presentation and appreciation of art. Expect some meta-moments; I’m sure BAMPFA art handlers will have their hands (literally) in the mix.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "etruscan-art-legion-of-honor-review-ancient-italy-roman",
"title": "Forget the Roman Empire — Think About the Etruscans Instead",
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"headTitle": "Forget the Roman Empire — Think About the Etruscans Instead | KQED",
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"content": "\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n",
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"title": "‘Etruscans’ at Legion of Honor: Ancient Culture Gets its Due | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empires get all the credit. And yet it was the Etruscans, the people who lived in present-day Tuscany between 900 and 100 B.C., who taught the Romans about viticulture, urban planning and complex hydraulic works. Without the Etruscans there would be no toga, or what we now call Roman numerals.\u003c/p>\n\u003cp>For too long, as curator Renée Dreyfus argues in her Legion of Honor exhibition \u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>\u003c/i>, Etruscan culture has been overshadowed by the Greeks and Romans. The Etruscans are considered “mysterious” or “unknowable,” but as the show’s introductory video says, we just need to dig deeper — literally.\u003c/p>\n\u003cp>\u003ci>The Etruscans\u003c/i> gathers the latest scholarship and over 150 objects for the largest-ever presentation of Etruscan art and artifacts outside of Italy. An international roster of over two dozen institutions has loaned what are clearly treasures to this show; some have left their host museums for the first time since they were discovered. \u003c/p>\n\u003cfigure id=\"attachment_13989112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg\" alt=\"curved display with objects in vitrines, show title in black on wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0589-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of what we see at the Legion of Honor comes from the tombs of the elite: finely wrought jewelry, delicately painted pottery, everything needed to live well in the afterlife. (This includes eating and partying — the Etruscans were devoted to their banquets.) \u003c/p>\n\u003cp>But the show also contains objects made for the living: a model for the study of divination, votive figures of the Etruscans’ many gods, and small bronzes found in the thermal waters of San Casciano dei Bagni. That model, the “Liver of Piacenza,” is one of the most remarkable objects on display. The life-sized bronze replica of a sheep’s liver is inscribed with the names of Etruscan deities; it acted as a guide to reading the entrails of sacrificed animals, which in turn determined the will of the gods. \u003c/p>\n\u003cfigure id=\"attachment_13989115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg\" alt=\"bronze object covered in inscriptions\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13989115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/MS_310311_20201118-01_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Etruscan model of a sheep’s liver, found in Piacenza, second century B.C. \u003ccite>(Courtesy of the Musei Civici di Palazzo Farnese, Piacenza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Etruscans used the Greek alphabet, generally read right to left, their language was a unique non-Indo-European tongue with no known antecedents or modern descendants. Most of the Etruscan writing that exists now is funerary inscriptions on objects, short phrases of ownership or dedication. But at the Legion of Honor — incredibly rare thing alert! — we also get to see the longest example of Etruscan writing: a wide, framed display on strips of linen that has its own incredible backstory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>Liber linteus zagrabiensis\u003c/i> (Linen book of Zagreb) is the longest-surviving Etruscan text (aka Europe’s oldest book). Believed to be a calendar of ritual sacrifices and prayers, it dates back to the mid-third century B.C. The text exists \u003ci>only\u003c/i> because the manuscript was cut into strips and used to wrap an Egyptian mummy. Preserved by Egypt’s dry climate, the deconstructed book was identified as Etruscian writing in 1892, nearly 50 years after it was purchased in Alexandria.\u003c/p>\n\u003cfigure id=\"attachment_13989116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg\" alt=\"person stands in front of wide frame holding strips of linen\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/0391-Legion-Etruscans-Sexton_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Liber linteus zagrabiensis’ in ‘The Etruscans: From The Heart of Ancient Italy’ at the Legion of Honor. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That may seem oh so long ago, but scholars and archeologists are still making new discoveries about the Etruscans today. The small sculptures excavated from the mud of San Casciano dei Bagni, on display in the exhibition’s final gallery, were found just two years ago. \u003c/p>\n\u003cp>It’s hard to make an ancient civilization come alive for modern audiences. It helps that so many of the objects on view are playful, animated: a handle made from a bent-backwards body, a wonderfully elongated figure, a cup in the shape of a leg. \u003ci>The Etruscans\u003c/i> also stresses again and again just what made these people unique, especially in comparison to the empire that eventually subsumed them. (Etruscans became Roman citizens in 89 B.C.)\u003c/p>\n\u003cfigure id=\"attachment_13989119\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg\" alt=\"terracotta sculpture of man and woman lounging together\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DIGITAL-26-etruscans-web-image-R1-V8-cinerary-urn_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cinerary urn of the spouses, Etruscan, Caere, 520–500 B.C. \u003ccite>(Musée du Louvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women, in particular, enjoyed an elevated status in Etruscan society. They were highly literate, could inherit property, kept their maiden names and participated in public life. A reproduction of a painting in the Tomb of the Leopards spreads across one wall of the exhibition, showing both men and women lounging, conversing and generally enjoying themselves at a banquet. Greek symposia, in contrast, were the sole domain of aristocratic men.\u003c/p>\n\u003cp>The society that emerges through this exhibition is one of great wealth (the fine detail on the jewelry, holy moly) and great joy. Only people with a sense of delight would carve a toiletries box in the shape of a fawn. Or put such enigmatic and peaceful smiles on their renderings of the dead. You may emerge from the subterranean depths of the Legion of Honor wishing a bit more of Etruscan culture seeped its way into the Roman world, and, eventually, Western civilization.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/etruscans-heart-ancient-italy\">The Etruscans: From the Heart of Ancient Italy\u003c/a>’ is on view at the Legion of Honor (100 34th Ave., San Francisco) May 2–Sept. 20, 2026.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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