Meet the Minneapolis Brothers Rejuvenating Native Hoop Dance with Hip-Hop
Ex-Military Bunkers to Host Major Group Exhibition in San Francisco
Eco Artists Transform “Mother Earth” into “Lover Earth”
Clarion Alley Mural Project's Decades of Dissident Artwork Now Online
Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa
Spirit of Fallen Artist Rises in Oakland Super Heroes Mural Project
Giant Sand-Dwelling Skeletons Descend on the Exploratorium
BottleRock Finds it Footing, on Louboutin Heels, in Wine Country
San Francisco Students Find a Creative Outlet Through Skateboarding
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She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>","avatar":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twitter":"chloeveltman","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Chloe Veltman | KQED","description":"Arts and Culture Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cveltman"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13853759":{"type":"posts","id":"arts_13853759","meta":{"index":"posts_1591205157","site":"arts","id":"13853759","score":null,"sort":[1553639254000]},"guestAuthors":[],"slug":"if-cities-could-dance-minneapolis","title":"Meet the Minneapolis Brothers Rejuvenating Native Hoop Dance with Hip-Hop","publishDate":1553639254,"format":"video","headTitle":"Meet the Minneapolis Brothers Rejuvenating Native Hoop Dance with Hip-Hop | KQED","labelTerm":{"term":4422,"site":"arts"},"content":"\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>In hoop dance lore, every time dancers pass through their hoops, they get younger and younger. “So you’ve got to be careful,” Lumhe “Micco” Sampson jokes. “When you do that too much you’ll end up back in first grade and with really tiny limbs.”\u003c/p>\n\u003cp>Micco and his older brother Samsoche (Seneca and Muscogee Creek), who perform together as \u003ca href=\"https://sampsonbrosarts.com\" target=\"_blank\" rel=\"noopener noreferrer\">the Sampson Brothers\u003c/a> are well known on powwow grounds and beyond for their impressive hoop dance routines. They’ve performed at dance and music festivals in more than half a dozen countries, and made appearances at hundreds of schools and universities.\u003c/p>\n\u003cp>“To have an opportunity to exercise it, to me, is an act of sovereignty, of resistance,” says Micco. “I’m still here. I’m still dancing.”\u003c/p>\n\u003cp>It takes years of practice to master hoop dance, and the intricate footwork and high-level coordination necessary to manipulate sometimes as many as 42 hoops at a time. Hoop dancers interlock the rings to mimic majestic animals, small insects or celestial orbs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Sampson Brothers add another layer of difficulty to the traditional movements—they dance in synchronization, often to the beat of Native hip-hop, bridging the past and future in their coordinated steps.\u003c/p>\n\u003cp>Their mother, an acclaimed fancy shawl dancer, had them taking dance lessons from an early age. They spent their childhoods in Los Angeles, where their late father, Will Sampson, was establishing himself as a Native American actor in mainstream cinema (he played Chief Bromden in \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>).\u003c/p>\n\u003cp>Today, after years spent living and dancing all over the country, the brothers are based in Minneapolis with their families. This, too, is about a connection between the past and future: The city was a starting ground for the American Indian Movement, which in turn, “was a call to action for a lot of urban indigenous people to reclaim their culture and their identities,” says Samsoche.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the Sampson Brothers perform traditional hoop dance formations and reenact an Iroquois creation story in front of Minneapolis’ American Indian Center, on the Mississippi’s Stone Arch Bridge and underneath the Hennepin Avenue overpass, as well as teach the next generation of Native youth the art of the hoop. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Watch the Sampson Brothers perform at the starting place of the American Indian Movement.","status":"publish","parent":0,"modified":1705026427,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":455},"headData":{"title":"Meet the Minneapolis Brothers Rejuvenating Native Hoop Dance with Hip-Hop | KQED","description":"Watch the Sampson Brothers perform at the starting place of the American Indian Movement.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet the Minneapolis Brothers Rejuvenating Native Hoop Dance with Hip-Hop","datePublished":"2019-03-26T22:27:34.000Z","dateModified":"2024-01-12T02:27:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/ZYg1iW4-lmI","pbsMediaId":"3027493044","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13853759/if-cities-could-dance-minneapolis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>In hoop dance lore, every time dancers pass through their hoops, they get younger and younger. “So you’ve got to be careful,” Lumhe “Micco” Sampson jokes. “When you do that too much you’ll end up back in first grade and with really tiny limbs.”\u003c/p>\n\u003cp>Micco and his older brother Samsoche (Seneca and Muscogee Creek), who perform together as \u003ca href=\"https://sampsonbrosarts.com\" target=\"_blank\" rel=\"noopener noreferrer\">the Sampson Brothers\u003c/a> are well known on powwow grounds and beyond for their impressive hoop dance routines. They’ve performed at dance and music festivals in more than half a dozen countries, and made appearances at hundreds of schools and universities.\u003c/p>\n\u003cp>“To have an opportunity to exercise it, to me, is an act of sovereignty, of resistance,” says Micco. “I’m still here. I’m still dancing.”\u003c/p>\n\u003cp>It takes years of practice to master hoop dance, and the intricate footwork and high-level coordination necessary to manipulate sometimes as many as 42 hoops at a time. Hoop dancers interlock the rings to mimic majestic animals, small insects or celestial orbs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Sampson Brothers add another layer of difficulty to the traditional movements—they dance in synchronization, often to the beat of Native hip-hop, bridging the past and future in their coordinated steps.\u003c/p>\n\u003cp>Their mother, an acclaimed fancy shawl dancer, had them taking dance lessons from an early age. They spent their childhoods in Los Angeles, where their late father, Will Sampson, was establishing himself as a Native American actor in mainstream cinema (he played Chief Bromden in \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>).\u003c/p>\n\u003cp>Today, after years spent living and dancing all over the country, the brothers are based in Minneapolis with their families. This, too, is about a connection between the past and future: The city was a starting ground for the American Indian Movement, which in turn, “was a call to action for a lot of urban indigenous people to reclaim their culture and their identities,” says Samsoche.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the Sampson Brothers perform traditional hoop dance formations and reenact an Iroquois creation story in front of Minneapolis’ American Indian Center, on the Mississippi’s Stone Arch Bridge and underneath the Hennepin Avenue overpass, as well as teach the next generation of Native youth the art of the hoop. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853759/if-cities-could-dance-minneapolis","authors":["3248"],"series":["arts_4422"],"categories":["arts_966"],"tags":["arts_1310","arts_879","arts_1118","arts_903","arts_4522","arts_7113","arts_4524","arts_7005","arts_3178","arts_596","arts_1007"],"featImg":"arts_13854914","label":"arts_4422"},"arts_11727396":{"type":"posts","id":"arts_11727396","meta":{"index":"posts_1591205157","site":"arts","id":"11727396","score":null,"sort":[1466717541000]},"guestAuthors":[],"slug":"ex-military-bunkers-become-setting-for-major-homeland-security-exhibition","title":"Ex-Military Bunkers to Host Major Group Exhibition in San Francisco","publishDate":1466717541,"format":"standard","headTitle":"Ex-Military Bunkers to Host Major Group Exhibition in San Francisco | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Former military structures overlooking the San Francisco Bay will be transformed into the setting for \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">Home Land Security\u003c/a> — a free, large-scale art show this fall on the theme of security.\u003c/p>\n\u003cp>The non-profit art organization behind the wildly popular Ai Wei Wei show on Alcatraz in 2014 — the \u003ca href=\"http://www.for-site.org/\" target=\"_blank\" rel=\"noopener\">FOR-SITE Foundation\u003c/a> — has invited 16 big name contemporary artists from nine different countries to create art installations in five of the long-abandoned bunkers located at Fort Winfield Scott and the Presidio in San Francisco.\u003c/p>\n\u003cp>The National Park Service, which is partnering with FOR-SITE alongside the Golden Gate National Parks Conservancy and the Presidio Trust to mount the exhibition, is opening a few of these structures to the public for the first time.\u003c/p>\n\u003cfigure id=\"attachment_11727403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg\" alt=\"‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; 'tank-killer' missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the works featured in the upcoming ‘Homeland Security’ show: ‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; ‘tank-killer’ missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in. \u003ccite>(Photo: Jock McDonald/Courtesy Al Farrow and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work by internationally known artists including American video artist Bill Viola, American installation artist Liza Lou and Korean sculptor Do Ho Suh, as well as Bay Area artists such as Al Farrow, Trevor Paglen and Michele Pred, will reflect on the impact of security issues on our lives. The exhibition will include pieces created in a wide variety of media including painting, sculpture, performance, and video.\u003c/p>\n\u003cp>Former Bay Area military outposts have been used for artistic purposes before, though this happens quite rarely. FOR-SITE previously did a show the mark the 75th anniversary of the Golden Gate Bridge in 2012 at Fort Point (\u003cem>International Orange\u003c/em>), and the Headlands Center for the Arts in Marin used to be the home of Fort Barry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Home Land Security\u003c/em> runs Sept. 10 — Dec. 18 at five sites in Fort Winfield Scott and the Presidio in San Francisco. Details \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Installations by big names like American video artist Bill Viola and Korean sculptor Do Ho Suh will reflect on complex security issues and their impact on our lives ","status":"publish","parent":0,"modified":1705033816,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":345},"headData":{"title":"Ex-Military Bunkers to Host Major Group Exhibition in San Francisco | KQED","description":"Installations by big names like American video artist Bill Viola and Korean sculptor Do Ho Suh will reflect on complex security issues and their impact on our lives ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ex-Military Bunkers to Host Major Group Exhibition in San Francisco","datePublished":"2016-06-23T21:32:21.000Z","dateModified":"2024-01-12T04:30:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11727396/ex-military-bunkers-become-setting-for-major-homeland-security-exhibition","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former military structures overlooking the San Francisco Bay will be transformed into the setting for \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">Home Land Security\u003c/a> — a free, large-scale art show this fall on the theme of security.\u003c/p>\n\u003cp>The non-profit art organization behind the wildly popular Ai Wei Wei show on Alcatraz in 2014 — the \u003ca href=\"http://www.for-site.org/\" target=\"_blank\" rel=\"noopener\">FOR-SITE Foundation\u003c/a> — has invited 16 big name contemporary artists from nine different countries to create art installations in five of the long-abandoned bunkers located at Fort Winfield Scott and the Presidio in San Francisco.\u003c/p>\n\u003cp>The National Park Service, which is partnering with FOR-SITE alongside the Golden Gate National Parks Conservancy and the Presidio Trust to mount the exhibition, is opening a few of these structures to the public for the first time.\u003c/p>\n\u003cfigure id=\"attachment_11727403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg\" alt=\"‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; 'tank-killer' missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the works featured in the upcoming ‘Homeland Security’ show: ‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; ‘tank-killer’ missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in. \u003ccite>(Photo: Jock McDonald/Courtesy Al Farrow and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work by internationally known artists including American video artist Bill Viola, American installation artist Liza Lou and Korean sculptor Do Ho Suh, as well as Bay Area artists such as Al Farrow, Trevor Paglen and Michele Pred, will reflect on the impact of security issues on our lives. The exhibition will include pieces created in a wide variety of media including painting, sculpture, performance, and video.\u003c/p>\n\u003cp>Former Bay Area military outposts have been used for artistic purposes before, though this happens quite rarely. FOR-SITE previously did a show the mark the 75th anniversary of the Golden Gate Bridge in 2012 at Fort Point (\u003cem>International Orange\u003c/em>), and the Headlands Center for the Arts in Marin used to be the home of Fort Barry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Home Land Security\u003c/em> runs Sept. 10 — Dec. 18 at five sites in Fort Winfield Scott and the Presidio in San Francisco. Details \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11727396/ex-military-bunkers-become-setting-for-major-homeland-security-exhibition","authors":["8608"],"programs":["arts_1272"],"categories":["arts_235","arts_70"],"tags":["arts_1310","arts_596","arts_1427"],"featImg":"arts_11727399","label":"arts_1272"},"arts_11662657":{"type":"posts","id":"arts_11662657","meta":{"index":"posts_1591205157","site":"arts","id":"11662657","score":null,"sort":[1466546410000]},"guestAuthors":[],"slug":"ecosex-artists-transform-mother-earth-into-lover-earth","title":"Eco Artists Transform “Mother Earth” into “Lover Earth”","publishDate":1466546410,"format":"video","headTitle":"Eco Artists Transform “Mother Earth” into “Lover Earth” | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>Ecosexuality is a new movement at the intersection of culture and ecological activism founded by performance artists Annie Sprinkle and Beth Stephens which seeks to re-frame the conversation around solving environmental issues.\u003c/p>\n\u003cp>“We are shifting the metaphor from Earth as mother to Earth as lover,” says Stephens, who divides her time between making art and teaching the subject at UC Santa Cruz.\u003c/p>\n\u003cp>“When we imagine the Earth as a mother, we imagine the mother will take care of us and we can just take, take, take,” says Sprinkle, who is also an educator and former sex worker. “Whereas the Earth as a lover, you have to treat them nice or they go away.”\u003c/p>\n\u003cfigure id=\"attachment_11665719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11665719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-800x485.jpg\" alt=\"Ecosex artists Beth Stephens and Annie Sprinkle get cozy with the daisies\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-400x242.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175.jpg 1603w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ecosex artists Beth Stephens and Annie Sprinkle get cozy with the daisies \u003ccite>(Photo: Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sprinkle, Stephens, and other members of the growing ecosexual community use performance art, documentary film, interactive walking tours — and a ton of humor — to grab people’s attention around global warming and other pressing ecological problems with the aim of inciting them to action.\u003c/p>\n\u003cp>Later this month, Stephens and Sprinkle are heading out on the road in their sparkly, blue “Pollination Pod” (a tricked-out, 1975 Perris Pacer camper van) to interview and interact with ecosexual artists, activists, thinkers, and practitioners, as well as any detractors they might meet on their journey throughout California. The duo says this research will inform their next film project, which focuses on water.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re trying to make the environmental movement more sexy, fun and diverse,” says Sprinkle. “Some of us don’t quite fit into the Sierra Club because we’re a little weird.”\u003c/p>\n\u003cp>\u003cem>To find out more about ecosexuality, head \u003ca href=\"http://theecosexuals.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: right\">— Chloe Veltman\u003c/p>\n\n","blocks":[],"excerpt":"Performance artists Beth Stephens and Annie Sprinkle say if we want to save the planet from ecological disaster, we have to have fun doing it\r\n","status":"publish","parent":0,"modified":1705033840,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":309},"headData":{"title":"Eco Artists Transform “Mother Earth” into “Lover Earth” | KQED","description":"Performance artists Beth Stephens and Annie Sprinkle say if we want to save the planet from ecological disaster, we have to have fun doing it\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Eco Artists Transform “Mother Earth” into “Lover Earth”","datePublished":"2016-06-21T22:00:10.000Z","dateModified":"2024-01-12T04:30:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=NP2OgI5adwM","sticky":false,"nprByline":"Peter Ruocco","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/11662657/ecosex-artists-transform-mother-earth-into-lover-earth","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ecosexuality is a new movement at the intersection of culture and ecological activism founded by performance artists Annie Sprinkle and Beth Stephens which seeks to re-frame the conversation around solving environmental issues.\u003c/p>\n\u003cp>“We are shifting the metaphor from Earth as mother to Earth as lover,” says Stephens, who divides her time between making art and teaching the subject at UC Santa Cruz.\u003c/p>\n\u003cp>“When we imagine the Earth as a mother, we imagine the mother will take care of us and we can just take, take, take,” says Sprinkle, who is also an educator and former sex worker. “Whereas the Earth as a lover, you have to treat them nice or they go away.”\u003c/p>\n\u003cfigure id=\"attachment_11665719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11665719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-800x485.jpg\" alt=\"Ecosex artists Beth Stephens and Annie Sprinkle get cozy with the daisies\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-400x242.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ecosex-Still-1-e1465503188175.jpg 1603w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ecosex artists Beth Stephens and Annie Sprinkle get cozy with the daisies \u003ccite>(Photo: Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sprinkle, Stephens, and other members of the growing ecosexual community use performance art, documentary film, interactive walking tours — and a ton of humor — to grab people’s attention around global warming and other pressing ecological problems with the aim of inciting them to action.\u003c/p>\n\u003cp>Later this month, Stephens and Sprinkle are heading out on the road in their sparkly, blue “Pollination Pod” (a tricked-out, 1975 Perris Pacer camper van) to interview and interact with ecosexual artists, activists, thinkers, and practitioners, as well as any detractors they might meet on their journey throughout California. The duo says this research will inform their next film project, which focuses on water.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re trying to make the environmental movement more sexy, fun and diverse,” says Sprinkle. “Some of us don’t quite fit into the Sierra Club because we’re a little weird.”\u003c/p>\n\u003cp>\u003cem>To find out more about ecosexuality, head \u003ca href=\"http://theecosexuals.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: right\">— Chloe Veltman\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11662657/ecosex-artists-transform-mother-earth-into-lover-earth","authors":["byline_arts_11662657"],"series":["arts_1259"],"categories":["arts_968","arts_835","arts_235","arts_1003"],"tags":["arts_1310","arts_1118","arts_596","arts_1007"],"featImg":"arts_11670729","label":"arts_1259"},"arts_11691465":{"type":"posts","id":"arts_11691465","meta":{"index":"posts_1591205157","site":"arts","id":"11691465","score":null,"sort":[1466026093000]},"guestAuthors":[],"slug":"clarion-alley-mural-projects-decades-of-dissident-artwork-now-online","title":"Clarion Alley Mural Project's Decades of Dissident Artwork Now Online","publishDate":1466026093,"format":"standard","headTitle":"Clarion Alley Mural Project’s Decades of Dissident Artwork Now Online | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Twenty-four years after its founding, the Mission’s Clarion Alley Mural Project (CAMP), a community-based arts space occupying the walls along a 560-foot-long alley between 17th and 18th Streets and Mission and Valencia Streets in San Francisco’s Mission district, \u003ca href=\"http://clarionalleymuralproject.org/\" target=\"_blank\" rel=\"noopener\">unveiled its first website\u003c/a> on Wednesday.\u003c/p>\n\u003cp>The launch of the comprehensive online archive comes with the news of CAMP’s decision to become a nonprofit organization to better support artists’ intellectual property rights and disseminate the social and political messages of the alley’s murals.\u003c/p>\n\u003cfigure id=\"attachment_11691470\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691470\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg\" alt=\"Muralists at work in Clarion Alley.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Muralists at work in Clarion Alley. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1992, Clarion Alley has been the site of more than 700 murals, many created by Bay Area and international artists known for their street art and activism. Now, thanks to CAMP’s thorough documentation efforts, viewers can visit the alley remotely, traveling through time to see, among other eye-catching works, Alicia McCarthy’s 1998 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/where-the-rainbow-meets-the-better-end/\" target=\"_blank\" rel=\"noopener\">Where the Bitter End Meets the Rainbow\u003c/a>\u003c/i>, Aaron Noble and Rigo 23’s 2000 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/superhero-warehouse/\" target=\"_blank\" rel=\"noopener\">Superhero Warehouse\u003c/a>\u003c/i> and Mel C. Waters’ more recent \u003ca href=\"http://clarionalleymuralproject.org/mural/rest-in-purple/\" target=\"_blank\" rel=\"noopener\">homage to Prince\u003c/a>.\u003c/p>\n\u003cp>The documentation also captures CAMP’s overarching themes of education, resistance and community celebration. The Dope Project’s 2013 mural \u003ci>Narcania VS Death\u003c/i> offers a comic book-style narrative of drug overdose prevention. In a 2014 response to the \u003ca href=\"https://www.youtube.com/watch?v=awPVY1DcupE\" target=\"_blank\" rel=\"noopener\">Mission Playground soccer field confrontation\u003c/a>, Ivy Jeanne McClelland painted the powerful \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/this-city-is-not-for-sale/\" target=\"_blank\" rel=\"noopener\">This City is Not For Sale\u003c/a>\u003c/i>. Installed this year, D8’s stark \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/white-men-cant-police-imagination/\" target=\"_blank\" rel=\"noopener\">Because White Men Can’t Police Their Imagination\u003c/a>\u003c/i> and José V. Guerra Awe’s \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/rise-in-power/\" target=\"_blank\" rel=\"noopener\">Rise in Power\u003c/a>\u003c/i> condemn the nationwide epidemic of POC deaths in “officer involved” shootings.\u003c/p>\n\u003cfigure id=\"attachment_11691469\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg\" alt=\"Celebrating CAMP's 22nd anniversary in 2014.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Celebrating CAMP’s 22nd anniversary in 2014. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clarion Alley has long been a stopping point on walking tours of the Mission and a frequent draw for locals and tourists alike. CAMP estimates over 200,000 people visit the corridor each year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of CAMP’s efforts — furthered by the new website — include educating the public and those who would seek to use the alley’s murals as backdrops for commercial gain, about the often hard-to-grasp fact that the murals are not “free for the taking” simply because they exist on the street. CAMP oversees the reproduction of its artists’ murals in films, books, on clothing and in commercial photographs through \u003ca href=\"http://clarionalleymuralproject.org/about/mural-faq-licensing-film-video-photography/\" target=\"_blank\" rel=\"noopener\">licensing agreements\u003c/a>, the fees going to both CAMP and the artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While CAMP’s new website demonstrates a long and colorful history, the project is nowhere near complete. A \u003ca href=\"http://clarionalleymuralproject.org/mural/new-mural-rigo-23/\" target=\"_blank\" rel=\"noopener\">Rigo 23 mural from 2012\u003c/a> captures the spirit of the project succinctly: “Building a better future is a full-life job.”\u003c/p>\n\n","blocks":[],"excerpt":"The Mission District project known for its corridor of colorful community-minded murals launches its first website with 24 years of documentation and moves towards becoming a non-profit","status":"publish","parent":0,"modified":1705033902,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":478},"headData":{"title":"Clarion Alley Mural Project's Decades of Dissident Artwork Now Online | KQED","description":"The Mission District project known for its corridor of colorful community-minded murals launches its first website with 24 years of documentation and moves towards becoming a non-profit","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Clarion Alley Mural Project's Decades of Dissident Artwork Now Online","datePublished":"2016-06-15T21:28:13.000Z","dateModified":"2024-01-12T04:31:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11691465/clarion-alley-mural-projects-decades-of-dissident-artwork-now-online","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-four years after its founding, the Mission’s Clarion Alley Mural Project (CAMP), a community-based arts space occupying the walls along a 560-foot-long alley between 17th and 18th Streets and Mission and Valencia Streets in San Francisco’s Mission district, \u003ca href=\"http://clarionalleymuralproject.org/\" target=\"_blank\" rel=\"noopener\">unveiled its first website\u003c/a> on Wednesday.\u003c/p>\n\u003cp>The launch of the comprehensive online archive comes with the news of CAMP’s decision to become a nonprofit organization to better support artists’ intellectual property rights and disseminate the social and political messages of the alley’s murals.\u003c/p>\n\u003cfigure id=\"attachment_11691470\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691470\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg\" alt=\"Muralists at work in Clarion Alley.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Muralists at work in Clarion Alley. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1992, Clarion Alley has been the site of more than 700 murals, many created by Bay Area and international artists known for their street art and activism. Now, thanks to CAMP’s thorough documentation efforts, viewers can visit the alley remotely, traveling through time to see, among other eye-catching works, Alicia McCarthy’s 1998 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/where-the-rainbow-meets-the-better-end/\" target=\"_blank\" rel=\"noopener\">Where the Bitter End Meets the Rainbow\u003c/a>\u003c/i>, Aaron Noble and Rigo 23’s 2000 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/superhero-warehouse/\" target=\"_blank\" rel=\"noopener\">Superhero Warehouse\u003c/a>\u003c/i> and Mel C. Waters’ more recent \u003ca href=\"http://clarionalleymuralproject.org/mural/rest-in-purple/\" target=\"_blank\" rel=\"noopener\">homage to Prince\u003c/a>.\u003c/p>\n\u003cp>The documentation also captures CAMP’s overarching themes of education, resistance and community celebration. The Dope Project’s 2013 mural \u003ci>Narcania VS Death\u003c/i> offers a comic book-style narrative of drug overdose prevention. In a 2014 response to the \u003ca href=\"https://www.youtube.com/watch?v=awPVY1DcupE\" target=\"_blank\" rel=\"noopener\">Mission Playground soccer field confrontation\u003c/a>, Ivy Jeanne McClelland painted the powerful \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/this-city-is-not-for-sale/\" target=\"_blank\" rel=\"noopener\">This City is Not For Sale\u003c/a>\u003c/i>. Installed this year, D8’s stark \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/white-men-cant-police-imagination/\" target=\"_blank\" rel=\"noopener\">Because White Men Can’t Police Their Imagination\u003c/a>\u003c/i> and José V. Guerra Awe’s \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/rise-in-power/\" target=\"_blank\" rel=\"noopener\">Rise in Power\u003c/a>\u003c/i> condemn the nationwide epidemic of POC deaths in “officer involved” shootings.\u003c/p>\n\u003cfigure id=\"attachment_11691469\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg\" alt=\"Celebrating CAMP's 22nd anniversary in 2014.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Celebrating CAMP’s 22nd anniversary in 2014. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clarion Alley has long been a stopping point on walking tours of the Mission and a frequent draw for locals and tourists alike. CAMP estimates over 200,000 people visit the corridor each year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of CAMP’s efforts — furthered by the new website — include educating the public and those who would seek to use the alley’s murals as backdrops for commercial gain, about the often hard-to-grasp fact that the murals are not “free for the taking” simply because they exist on the street. CAMP oversees the reproduction of its artists’ murals in films, books, on clothing and in commercial photographs through \u003ca href=\"http://clarionalleymuralproject.org/about/mural-faq-licensing-film-video-photography/\" target=\"_blank\" rel=\"noopener\">licensing agreements\u003c/a>, the fees going to both CAMP and the artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While CAMP’s new website demonstrates a long and colorful history, the project is nowhere near complete. A \u003ca href=\"http://clarionalleymuralproject.org/mural/new-mural-rigo-23/\" target=\"_blank\" rel=\"noopener\">Rigo 23 mural from 2012\u003c/a> captures the spirit of the project succinctly: “Building a better future is a full-life job.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11691465/clarion-alley-mural-projects-decades-of-dissident-artwork-now-online","authors":["61"],"programs":["arts_1272"],"categories":["arts_235","arts_70"],"tags":["arts_1310","arts_596","arts_1427"],"featImg":"arts_11691468","label":"arts_1272"},"arts_11665156":{"type":"posts","id":"arts_11665156","meta":{"index":"posts_1591205157","site":"arts","id":"11665156","score":null,"sort":[1465498820000]},"guestAuthors":[],"slug":"ruth-asawa-fountain-delicately-removed-preserved-in-santa-rosa","title":"Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa","publishDate":1465498820,"format":"image","headTitle":"Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11669351,11669350,11669349,11669348,11669345,11669418,11669346,11669347\"]\u003c/p>\n\n","blocks":[],"excerpt":"As part of Santa Rosa's Courthouse Square reunification project, fountain panels by famed sculptor Ruth Asawa are preserved for future installation.","status":"publish","parent":0,"modified":1705033957,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":766},"headData":{"title":"Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa | KQED","description":"As part of Santa Rosa's Courthouse Square reunification project, fountain panels by famed sculptor Ruth Asawa are preserved for future installation.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa","datePublished":"2016-06-09T19:00:20.000Z","dateModified":"2024-01-12T04:32:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11665156/ruth-asawa-fountain-delicately-removed-preserved-in-santa-rosa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"slideshow","size":"full","ids":"11669351,11669350,11669349,11669348,11669345,11669418,11669346,11669347","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11665156/ruth-asawa-fountain-delicately-removed-preserved-in-santa-rosa","authors":["185"],"categories":["arts_235","arts_70"],"tags":["arts_1310","arts_1119","arts_596"],"featImg":"arts_11665484","label":"arts"},"arts_11662501":{"type":"posts","id":"arts_11662501","meta":{"index":"posts_1591205157","site":"arts","id":"11662501","score":null,"sort":[1465430684000]},"guestAuthors":[],"slug":"spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project","title":"Spirit of Fallen Artist Rises in Oakland Super Heroes Mural Project","publishDate":1465430684,"format":"video","headTitle":"Spirit of Fallen Artist Rises in Oakland Super Heroes Mural Project | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When 27-year-old artist Antonio Ramos was shot and killed last fall while painting a mural under a highway overpass in West Oakland, the story of his death captured national and international headlines.\u003c/p>\n\u003cp>But very little was reported about Ramos, the self-taught artist whose passion for social justice and illustrating the stories of indigenous people was recognized by those who knew him best. (Ramos himself had roots in Mexico and in Puerto Rico’s Taíno tribe.)\u003c/p>\n\u003cp>[contextly_sidebar id=”dXpFdXAocPZRDSePgYFgCUcoogxzPXfm”]\u003c/p>\n\u003cp>I walked through the doors of \u003ca href=\"http://www.ahc-oakland.org\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection \u003c/a>(AHC) one week after the shooting. AHC has worked in West Oakland for more than 25 years and leads the \u003ca href=\"http://www.ahc-oakland.org/oakland-mural-project\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, an effort to transform six blighted underpasses into large-scale murals designed by local youth.\u003cb> \u003c/b>Ramos was helping paint one of them when he was gunned down.\u003c/p>\n\u003cp>AHC co-founder Aeeshah Clottey greeted me with warm eyes, open arms, but also had words that stung me for their truth. “Where have you been? We’ve been trying to get media coverage of our efforts for decades. Now with blood in the streets, you’re here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then she invited me to sit down.\u003c/p>\n\u003cp>I’ve called Oakland home for most of my adult life, and as a documentary filmmaker who has made films about anti-violence efforts in the Bay Area and as far away as Russia, words like these are important to hear. They cut to the heart of what many people at AHC and throughout Oakland are still feeling about this tragedy nine months later.\u003c/p>\n\u003cp>Within hours of the shooting, reports of yet another killing in Oakland dominated the news cycle. That Ramos died working on a mural about peace and non-violence was not lost on the press. Speculation about the circumstances leading up to the murder abounded. Did the subject matter in the mural provoke the violence? Was the crime an attempted robbery? Next to none of these explanations resonated with the artists working with Ramos that fateful morning, when an armed man took their friend’s life. The truth of their feelings were eclipsed by reports of his violent death and tired narratives of crime-ridden Oakland.\u003c/p>\n\u003cp>“In a situation that was just so senseless, there were news reports connecting what happened to Antonio with how gentrification isn’t making Oakland better,” AHC Executive Director Amana Harris told me. “As if gentrification is what it takes to make a city better. That’s the kind of narrow-mindedness we’re fighting against. We have to be looking at core issues for our people, ways to build better resiliency with our community members.”\u003c/p>\n\u003cp>For Harris, 44, art like the murals project is key to building healthy, resilient communities. The Oakland native has been bringing art classes to the city’s under-resourced schools for decades through AHC’s ArtEsteem program and Self as Superhero curriculum, which encourages students to re-envision themselves as superheroes improving their communities. West Oakland Middle School Students inspired the images Ramos was helping to create when he died.\u003c/p>\n\u003cp>Ramos’ name is back in the news again with \u003ca href=\"http://www.eastbaytimes.com/breaking-news/ci_29983979/oakland-defendant-enters-plea-muralist-slaying\" target=\"_blank\" rel=\"noopener\">developments in the criminal case\u003c/a> and with a lawsuit filed by his family against the U.S. Immigration and Customs Enforcement, owners of the stolen firearm reportedly used in the shooting. Meanwhile, AHC has started up work on a fourth Oakland Super Heroes Mural with students at Hoover Elementary. It will be painted across the street from the wall where Ramos was killed. But that work has disappeared from the public’s eye.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I began to capture the completion of the mural last fall in the aftermath of Ramos’ death, I didn’t know where my storytelling would lead. But I knew I wanted to tell a different story than I was seeing displayed in the media, one that better represented Ramos, Oakland, and the role art plays in empowering youth and making our communities stronger. I hope this video offers a glimpse of the creativity and courage, grace and forgiveness that is reflected not only in the life of Antonio Ramos, but in the lives of the artists, friends and family members who carry his spirit forward.\u003c/p>\n\n","blocks":[],"excerpt":"The story of Antonio Ramos and the murals he helped paint have been overshadowed by his violent death. ","status":"publish","parent":0,"modified":1705033966,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":729},"headData":{"title":"Spirit of Fallen Artist Rises in Oakland Super Heroes Mural Project | KQED","description":"The story of Antonio Ramos and the murals he helped paint have been overshadowed by his violent death. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Spirit of Fallen Artist Rises in Oakland Super Heroes Mural Project","datePublished":"2016-06-09T00:04:44.000Z","dateModified":"2024-01-12T04:32:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://youtu.be/M9AwiErHzlU","sticky":false,"path":"/arts/11662501/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When 27-year-old artist Antonio Ramos was shot and killed last fall while painting a mural under a highway overpass in West Oakland, the story of his death captured national and international headlines.\u003c/p>\n\u003cp>But very little was reported about Ramos, the self-taught artist whose passion for social justice and illustrating the stories of indigenous people was recognized by those who knew him best. (Ramos himself had roots in Mexico and in Puerto Rico’s Taíno tribe.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I walked through the doors of \u003ca href=\"http://www.ahc-oakland.org\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection \u003c/a>(AHC) one week after the shooting. AHC has worked in West Oakland for more than 25 years and leads the \u003ca href=\"http://www.ahc-oakland.org/oakland-mural-project\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, an effort to transform six blighted underpasses into large-scale murals designed by local youth.\u003cb> \u003c/b>Ramos was helping paint one of them when he was gunned down.\u003c/p>\n\u003cp>AHC co-founder Aeeshah Clottey greeted me with warm eyes, open arms, but also had words that stung me for their truth. “Where have you been? We’ve been trying to get media coverage of our efforts for decades. Now with blood in the streets, you’re here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then she invited me to sit down.\u003c/p>\n\u003cp>I’ve called Oakland home for most of my adult life, and as a documentary filmmaker who has made films about anti-violence efforts in the Bay Area and as far away as Russia, words like these are important to hear. They cut to the heart of what many people at AHC and throughout Oakland are still feeling about this tragedy nine months later.\u003c/p>\n\u003cp>Within hours of the shooting, reports of yet another killing in Oakland dominated the news cycle. That Ramos died working on a mural about peace and non-violence was not lost on the press. Speculation about the circumstances leading up to the murder abounded. Did the subject matter in the mural provoke the violence? Was the crime an attempted robbery? Next to none of these explanations resonated with the artists working with Ramos that fateful morning, when an armed man took their friend’s life. The truth of their feelings were eclipsed by reports of his violent death and tired narratives of crime-ridden Oakland.\u003c/p>\n\u003cp>“In a situation that was just so senseless, there were news reports connecting what happened to Antonio with how gentrification isn’t making Oakland better,” AHC Executive Director Amana Harris told me. “As if gentrification is what it takes to make a city better. That’s the kind of narrow-mindedness we’re fighting against. We have to be looking at core issues for our people, ways to build better resiliency with our community members.”\u003c/p>\n\u003cp>For Harris, 44, art like the murals project is key to building healthy, resilient communities. The Oakland native has been bringing art classes to the city’s under-resourced schools for decades through AHC’s ArtEsteem program and Self as Superhero curriculum, which encourages students to re-envision themselves as superheroes improving their communities. West Oakland Middle School Students inspired the images Ramos was helping to create when he died.\u003c/p>\n\u003cp>Ramos’ name is back in the news again with \u003ca href=\"http://www.eastbaytimes.com/breaking-news/ci_29983979/oakland-defendant-enters-plea-muralist-slaying\" target=\"_blank\" rel=\"noopener\">developments in the criminal case\u003c/a> and with a lawsuit filed by his family against the U.S. Immigration and Customs Enforcement, owners of the stolen firearm reportedly used in the shooting. Meanwhile, AHC has started up work on a fourth Oakland Super Heroes Mural with students at Hoover Elementary. It will be painted across the street from the wall where Ramos was killed. But that work has disappeared from the public’s eye.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I began to capture the completion of the mural last fall in the aftermath of Ramos’ death, I didn’t know where my storytelling would lead. But I knew I wanted to tell a different story than I was seeing displayed in the media, one that better represented Ramos, Oakland, and the role art plays in empowering youth and making our communities stronger. I hope this video offers a glimpse of the creativity and courage, grace and forgiveness that is reflected not only in the life of Antonio Ramos, but in the lives of the artists, friends and family members who carry his spirit forward.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11662501/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project","authors":["3248"],"categories":["arts_235","arts_70"],"tags":["arts_1310","arts_596","arts_1007"],"featImg":"arts_11662655","label":"arts"},"arts_11633101":{"type":"posts","id":"arts_11633101","meta":{"index":"posts_1591205157","site":"arts","id":"11633101","score":null,"sort":[1464721229000]},"guestAuthors":[],"slug":"giant-sand-dwelling-skeletons-descend-on-the-exploratorium","title":"Giant Sand-Dwelling Skeletons Descend on the Exploratorium","publishDate":1464721229,"format":"standard","headTitle":"Giant Sand-Dwelling Skeletons Descend on the Exploratorium | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“The floor is very slippery here,” said Theo Jansen, helpfully positioning his foot against a flailing leg of \u003ci>Animaris Suspendisse\u003c/i> as it uncannily propelled itself across the floor of the Exploratorium.\u003c/p>\n\u003cp>The Netherlands-based Jansen was in town to celebrate the opening of \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">\u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i>\u003c/a>, a traveling exhibition organized by the Peabody Essex Museum of Salem, Mass. that brought the “dream machines” to the Bay Area for the first time. \u003ci>Animaris Suspendisse\u003c/i> is used to moving across the hard-packed sands of Dutch beaches, not a museum’s polished concrete floor.\u003c/p>\n\u003cp>https://youtu.be/yTzz80fLAAQ\u003c/p>\n\u003cp>Resembling a cross between a Leonardo da Vinci flying machine and a plastic Erector Set, \u003ci>Suspendisse\u003c/i> is the latest and largest strandbeest to date, measuring in at 43 feet of PVC tubing, rubber tubes, zip ties, plastic bottles and rip-stop nylon sails.\u003c/p>\n\u003cp>Jansen began building the beests in 1990, prompted by the idea of creating a herd of machines that might be able to autonomously repair the Netherlands’ eroding coastline by moving sand from the surf zone to the dunes farther inland, continuously. In the nearly three decades since, the strandbeests have evolved over distinct periods of time — mapped on an Exploratorium wall — to become animated skeletons propelled by the wind, capable of storing compressed air and able to sense their positions on the beach by testing the hardness of the ground and the depth of the water.\u003c/p>\n\u003cfigure id=\"attachment_11634864\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg\" alt=\"Theo Jansen, Sheveningen beach, The Netherlands, 2011\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Theo Jansen, Sheveningen beach, The Netherlands, 2011. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for their intended purpose? The Exploratorium wall text explains, “The strandbeests did what any creature would do — they ignored human interests and pursued their own: survival and proliferation.” In other words, the beests are less interested in saving the Dutch coastline than they are in taking long walks on the beach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The spirit of \u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i> finds a perfect home at the Exploratorium, a museum that often resembles a really popular playground, each exhibition cleverly concealing its agenda of teaching visitors about science, art and human perception under the guise of hands-on fun. Jansen fits right in; he’s a relentless tinkerer, zip ties always at the ready. Building each new iteration of the beests during the winter, he sets them loose on the beaches of the seaside resort of Scheveningen during the prime summer months.\u003c/p>\n\u003cfigure id=\"attachment_11634872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg\" alt=\"'Animaris Plaudens Vela,' 2013.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Plaudens Vela,’ 2013. \u003ccite>(Photo courtesy of Marco Zwinkels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Exploratorium, whole beests are displayed alongside “fossils,” sun-bleached segments of strandbeest joints, wings and feet. The exhibition might not contain as many touchable elements as visitors to the museum are used to finding, but the beests do wake their creaky joints to participate in daily walking demonstrations, rest assured.\u003c/p>\n\u003cp>Lining the walls are photographer Lena Herzog’s large black-and-white images of Jansen standing on near-empty beaches — just a man alone with his beests, all of which dwarf him. In many of the images he’s clad, impractically, in a suit jacket and button-down shirt, the wind blowing his hair and propelling his automatons along the water’s edge.\u003c/p>\n\u003cfigure id=\"attachment_11634849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg\" alt=\"'Animaris Rhinoceros,' 2004. An evolutionary foray into wood, according to Jansen, the one time he was "unfaithful" to PVC tubing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Rhinoceros,’ 2004. An evolutionary foray into wood, according to Jansen, the one time he was “unfaithful” to PVC tubing. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beests aren’t pure whimsy. Jansen’s design decisions are often fueled by evolutionary science. The creatures’ legs were developed with the help of an iterative computer program to achieve optimal leg segment lengths, giving the beests a stable yet millipede-like gait.\u003c/p>\n\u003cp>The beests even think about self-preservation, to an extent. \u003ci>Animaris Sabulosa\u003c/i> adheres sand to its body as a form of camouflage. \u003ci>Animaris Rectus\u003c/i> hammers a stake into the sand when the wind picks up, to keep itself from blowing away.\u003c/p>\n\u003cfigure id=\"attachment_11634874\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg\" alt=\"Jansen's signature suit jacket during installation at the Exploratorium.\" width=\"1200\" height=\"799\" class=\"size-full wp-image-11634874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jansen’s signature suit jacket during installation at the Exploratorium. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a retrospective show, but Jansen is far from done. His singular focus, his playful capacity to make, by hand, these strange and wonderful creatures and then claim it is they who are forcing themselves into existence, is inspiring, both for the ingenuity of Jansen’s creations and the legacy he wishes to establish. “In the next 20 years I hope to work on their future,” Jansen said. “Mark my words, by the time I leave this planet, I will leave behind a new species.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Strandbeest: The Dream Machines of Theo Jansen \u003c/b>is on view at the Exploratorium in San Francisco through September 5. For tickets and more information on a whole range of \u003ca href=\"http://www.exploratorium.edu/strandbeest/events\" target=\"_blank\" rel=\"noopener\">strandbeest-related events\u003c/a> visit \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">exploratorium.edu\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Theo Jansen's wind-powered \"strandbeests\" journey to San Francisco in a show that's part natural history display, part fine art. ","status":"publish","parent":0,"modified":1705034068,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":819},"headData":{"title":"Giant Sand-Dwelling Skeletons Descend on the Exploratorium | KQED","description":"Theo Jansen's wind-powered "strandbeests" journey to San Francisco in a show that's part natural history display, part fine art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Giant Sand-Dwelling Skeletons Descend on the Exploratorium","datePublished":"2016-05-31T19:00:29.000Z","dateModified":"2024-01-12T04:34:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"480176335","path":"/arts/11633101/giant-sand-dwelling-skeletons-descend-on-the-exploratorium","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The floor is very slippery here,” said Theo Jansen, helpfully positioning his foot against a flailing leg of \u003ci>Animaris Suspendisse\u003c/i> as it uncannily propelled itself across the floor of the Exploratorium.\u003c/p>\n\u003cp>The Netherlands-based Jansen was in town to celebrate the opening of \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">\u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i>\u003c/a>, a traveling exhibition organized by the Peabody Essex Museum of Salem, Mass. that brought the “dream machines” to the Bay Area for the first time. \u003ci>Animaris Suspendisse\u003c/i> is used to moving across the hard-packed sands of Dutch beaches, not a museum’s polished concrete floor.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yTzz80fLAAQ'\n title='//www.youtube.com/embed/yTzz80fLAAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Resembling a cross between a Leonardo da Vinci flying machine and a plastic Erector Set, \u003ci>Suspendisse\u003c/i> is the latest and largest strandbeest to date, measuring in at 43 feet of PVC tubing, rubber tubes, zip ties, plastic bottles and rip-stop nylon sails.\u003c/p>\n\u003cp>Jansen began building the beests in 1990, prompted by the idea of creating a herd of machines that might be able to autonomously repair the Netherlands’ eroding coastline by moving sand from the surf zone to the dunes farther inland, continuously. In the nearly three decades since, the strandbeests have evolved over distinct periods of time — mapped on an Exploratorium wall — to become animated skeletons propelled by the wind, capable of storing compressed air and able to sense their positions on the beach by testing the hardness of the ground and the depth of the water.\u003c/p>\n\u003cfigure id=\"attachment_11634864\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg\" alt=\"Theo Jansen, Sheveningen beach, The Netherlands, 2011\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Theo Jansen, Sheveningen beach, The Netherlands, 2011. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for their intended purpose? The Exploratorium wall text explains, “The strandbeests did what any creature would do — they ignored human interests and pursued their own: survival and proliferation.” In other words, the beests are less interested in saving the Dutch coastline than they are in taking long walks on the beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spirit of \u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i> finds a perfect home at the Exploratorium, a museum that often resembles a really popular playground, each exhibition cleverly concealing its agenda of teaching visitors about science, art and human perception under the guise of hands-on fun. Jansen fits right in; he’s a relentless tinkerer, zip ties always at the ready. Building each new iteration of the beests during the winter, he sets them loose on the beaches of the seaside resort of Scheveningen during the prime summer months.\u003c/p>\n\u003cfigure id=\"attachment_11634872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg\" alt=\"'Animaris Plaudens Vela,' 2013.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Plaudens Vela,’ 2013. \u003ccite>(Photo courtesy of Marco Zwinkels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Exploratorium, whole beests are displayed alongside “fossils,” sun-bleached segments of strandbeest joints, wings and feet. The exhibition might not contain as many touchable elements as visitors to the museum are used to finding, but the beests do wake their creaky joints to participate in daily walking demonstrations, rest assured.\u003c/p>\n\u003cp>Lining the walls are photographer Lena Herzog’s large black-and-white images of Jansen standing on near-empty beaches — just a man alone with his beests, all of which dwarf him. In many of the images he’s clad, impractically, in a suit jacket and button-down shirt, the wind blowing his hair and propelling his automatons along the water’s edge.\u003c/p>\n\u003cfigure id=\"attachment_11634849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg\" alt=\"'Animaris Rhinoceros,' 2004. An evolutionary foray into wood, according to Jansen, the one time he was "unfaithful" to PVC tubing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Rhinoceros,’ 2004. An evolutionary foray into wood, according to Jansen, the one time he was “unfaithful” to PVC tubing. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beests aren’t pure whimsy. Jansen’s design decisions are often fueled by evolutionary science. The creatures’ legs were developed with the help of an iterative computer program to achieve optimal leg segment lengths, giving the beests a stable yet millipede-like gait.\u003c/p>\n\u003cp>The beests even think about self-preservation, to an extent. \u003ci>Animaris Sabulosa\u003c/i> adheres sand to its body as a form of camouflage. \u003ci>Animaris Rectus\u003c/i> hammers a stake into the sand when the wind picks up, to keep itself from blowing away.\u003c/p>\n\u003cfigure id=\"attachment_11634874\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg\" alt=\"Jansen's signature suit jacket during installation at the Exploratorium.\" width=\"1200\" height=\"799\" class=\"size-full wp-image-11634874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jansen’s signature suit jacket during installation at the Exploratorium. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a retrospective show, but Jansen is far from done. His singular focus, his playful capacity to make, by hand, these strange and wonderful creatures and then claim it is they who are forcing themselves into existence, is inspiring, both for the ingenuity of Jansen’s creations and the legacy he wishes to establish. “In the next 20 years I hope to work on their future,” Jansen said. “Mark my words, by the time I leave this planet, I will leave behind a new species.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Strandbeest: The Dream Machines of Theo Jansen \u003c/b>is on view at the Exploratorium in San Francisco through September 5. For tickets and more information on a whole range of \u003ca href=\"http://www.exploratorium.edu/strandbeest/events\" target=\"_blank\" rel=\"noopener\">strandbeest-related events\u003c/a> visit \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">exploratorium.edu\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11633101/giant-sand-dwelling-skeletons-descend-on-the-exploratorium","authors":["61"],"programs":["arts_140"],"categories":["arts_235","arts_70"],"tags":["arts_1310","arts_596","arts_769"],"featImg":"arts_11634807","label":"arts_140"},"arts_11625922":{"type":"posts","id":"arts_11625922","meta":{"index":"posts_1591205157","site":"arts","id":"11625922","score":null,"sort":[1464469899000]},"guestAuthors":[],"slug":"bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country","title":"BottleRock Finds it Footing, on Louboutin Heels, in Wine Country","publishDate":1464469899,"format":"image","headTitle":"BottleRock Finds it Footing, on Louboutin Heels, in Wine Country | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last year, I wrote that BottleRock was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">a festival in search of an identity\u003c/a>. Its ship had been righted after a financially ruinous first year and subsequent transfer, but being at the festival was like living one big unanswered existential question. Its music bookings felt haphazard, its culinary aspect forced. Why, I kept thinking, did BottleRock need to exist?\u003c/p>\n\u003cfigure id=\"attachment_11626057\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg\" alt=\"Morgan Kibby of White Sea at BottleRock 2016.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11626057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Kibby of White Sea at BottleRock 2016. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, in its fourth year, BottleRock’s identity has become clearer. On its opening day, the culinary stage was bigger than ever. A new raised VIP “Skydeck” viewing area and updated “Platinum Lounge” (tickets: $3,100) coddled the well-heeled. The music skewed toward radio-friendly, accessible pop-rock acts with an adult-contemporary feel. Wine was everywhere.\u003c/p>\n\u003cp>Essentially, BottleRock has completed its transformation from a scrappy, \u003ca href=\"http://www.pressdemocrat.com/news/1855676-181/new-organizers-promise-better-bottlerock?ref=related\" target=\"_blank\" rel=\"noopener\">too-ambitious\u003c/a> startup festival to a deluxe Wine Country Experience™: expensive, comfortable, and — in the landscape of music festivals — necessary, at least for audiences who require more middle-of-the-road music with an upscale atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_11626056\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg\" alt=\"Lenny Kravitz at BottleRock 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11626056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lenny Kravitz at BottleRock 2016. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence was hard to miss. When Lenny Kravitz launched into “American Woman,” a cover of the Guess Who’s soft-rock staple of 1970s radio, the forty-something bank teller in front of me grabbed her friend, shrieked “I love this song!” and began the wine-country two-step of soft gyration, careful not to spill her Cabernet.\u003c/p>\n\u003cp>Friday’s musical lineup did include a number of highlights. Fantastic Negrito, from Oakland, invited the entire crowd to “quit your jobs, and come on tour with me” while whipping through a powerful, sometimes haunting set of fiery songs. White Sea, a lesser-known outfit, brought a Coldplay-meets-Fleetwood-Mac sound and charming, convivial banter. Buddy Guy, criminally relegated to the third stage, covered B.B. King and John Lee Hooker alongside his own hits while spinning stories from his upbringing in the south: “I didn’t know what running water was until I was 17,” he said, while mostly white fans cheered his authenticity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, on the main stage, Michael Franti — who once \u003ca href=\"https://www.youtube.com/watch?v=D9jcQ6_-oZA\" target=\"_blank\" rel=\"noopener\">decried the evils of media and government\u003c/a> in his radical 1980s industrial band the Beatnigs — sang “Summertime is always on my mind / Even in the winter I want the sunshine” while the crowd grooved along to the easy beat.\u003c/p>\n\u003cfigure id=\"attachment_11626058\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png\" alt=\"Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11626058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1180x1180.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1920x1920.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-960x960.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085.png 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headliner Stevie Wonder opened his set with a monologue about the importance of voting, subtweeting Donald Trump by declaring “Division is unacceptable. Prejudice and hatred are unacceptable.” His set included the expected hits — “Higher Ground,” “Sir Duke,” “Living for the City,” “Signed Sealed Delivered” — along with \u003ca href=\"http://www.sfgate.com/music/article/Stevie-Wonder-opens-BottleRock-festival-with-7950863.php\" target=\"_blank\" rel=\"noopener\">a strange section\u003c/a> wherein he pressed play on a batch of songs by artists who’d recently passed away, such as Prince, David Bowie and Glenn Frey. (The only thing more awkward than Stevie Wonder DJing other people’s songs was when “Hotel California” started skipping in front of the 40,000-capacity crowd.)\u003c/p>\n\u003cp>But all in all, Wonder made it clear why he’s an American treasure, and his set briefly brought a spiritual transcendence from the commercial realities of its Napa surroundings.\u003c/p>\n\u003cp>It didn’t last. While getting into my car, a woman walking by approached me. “Excuse me,” she asked, “do you have an unopened bottle of water?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An unopened bottle of water\u003c/em>. Somehow, the request seemed to embody all the entitlement and condescension that wine country is known for, and I had to wonder if the woman was among the people cheering earlier for Buddy Guy, who grew up drinking water out of the creek. \u003c/p>\n\n","blocks":[],"excerpt":"In its fourth year, BottleRock has completed its transformation into a Wine Country Experience™: accessible, comfortable, and middle-of-the-road.","status":"publish","parent":0,"modified":1705034082,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":657},"headData":{"title":"BottleRock Finds it Footing, on Louboutin Heels, in Wine Country | KQED","description":"In its fourth year, BottleRock has completed its transformation into a Wine Country Experience™: accessible, comfortable, and middle-of-the-road.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"BottleRock Finds it Footing, on Louboutin Heels, in Wine Country","datePublished":"2016-05-28T21:11:39.000Z","dateModified":"2024-01-12T04:34:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"479867111","path":"/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, I wrote that BottleRock was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">a festival in search of an identity\u003c/a>. Its ship had been righted after a financially ruinous first year and subsequent transfer, but being at the festival was like living one big unanswered existential question. Its music bookings felt haphazard, its culinary aspect forced. Why, I kept thinking, did BottleRock need to exist?\u003c/p>\n\u003cfigure id=\"attachment_11626057\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg\" alt=\"Morgan Kibby of White Sea at BottleRock 2016.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11626057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRWHiteSea-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Kibby of White Sea at BottleRock 2016. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, in its fourth year, BottleRock’s identity has become clearer. On its opening day, the culinary stage was bigger than ever. A new raised VIP “Skydeck” viewing area and updated “Platinum Lounge” (tickets: $3,100) coddled the well-heeled. The music skewed toward radio-friendly, accessible pop-rock acts with an adult-contemporary feel. Wine was everywhere.\u003c/p>\n\u003cp>Essentially, BottleRock has completed its transformation from a scrappy, \u003ca href=\"http://www.pressdemocrat.com/news/1855676-181/new-organizers-promise-better-bottlerock?ref=related\" target=\"_blank\" rel=\"noopener\">too-ambitious\u003c/a> startup festival to a deluxe Wine Country Experience™: expensive, comfortable, and — in the landscape of music festivals — necessary, at least for audiences who require more middle-of-the-road music with an upscale atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_11626056\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg\" alt=\"Lenny Kravitz at BottleRock 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11626056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/BRLenny.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lenny Kravitz at BottleRock 2016. \u003ccite>(Photo: Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence was hard to miss. When Lenny Kravitz launched into “American Woman,” a cover of the Guess Who’s soft-rock staple of 1970s radio, the forty-something bank teller in front of me grabbed her friend, shrieked “I love this song!” and began the wine-country two-step of soft gyration, careful not to spill her Cabernet.\u003c/p>\n\u003cp>Friday’s musical lineup did include a number of highlights. Fantastic Negrito, from Oakland, invited the entire crowd to “quit your jobs, and come on tour with me” while whipping through a powerful, sometimes haunting set of fiery songs. White Sea, a lesser-known outfit, brought a Coldplay-meets-Fleetwood-Mac sound and charming, convivial banter. Buddy Guy, criminally relegated to the third stage, covered B.B. King and John Lee Hooker alongside his own hits while spinning stories from his upbringing in the south: “I didn’t know what running water was until I was 17,” he said, while mostly white fans cheered his authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, on the main stage, Michael Franti — who once \u003ca href=\"https://www.youtube.com/watch?v=D9jcQ6_-oZA\" target=\"_blank\" rel=\"noopener\">decried the evils of media and government\u003c/a> in his radical 1980s industrial band the Beatnigs — sang “Summertime is always on my mind / Even in the winter I want the sunshine” while the crowd grooved along to the easy beat.\u003c/p>\n\u003cfigure id=\"attachment_11626058\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png\" alt=\"Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11626058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1180x1180.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-1920x1920.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-960x960.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_1085.png 2048w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Ramsay, Morgan Kibby, and attendees at BottleRock 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headliner Stevie Wonder opened his set with a monologue about the importance of voting, subtweeting Donald Trump by declaring “Division is unacceptable. Prejudice and hatred are unacceptable.” His set included the expected hits — “Higher Ground,” “Sir Duke,” “Living for the City,” “Signed Sealed Delivered” — along with \u003ca href=\"http://www.sfgate.com/music/article/Stevie-Wonder-opens-BottleRock-festival-with-7950863.php\" target=\"_blank\" rel=\"noopener\">a strange section\u003c/a> wherein he pressed play on a batch of songs by artists who’d recently passed away, such as Prince, David Bowie and Glenn Frey. (The only thing more awkward than Stevie Wonder DJing other people’s songs was when “Hotel California” started skipping in front of the 40,000-capacity crowd.)\u003c/p>\n\u003cp>But all in all, Wonder made it clear why he’s an American treasure, and his set briefly brought a spiritual transcendence from the commercial realities of its Napa surroundings.\u003c/p>\n\u003cp>It didn’t last. While getting into my car, a woman walking by approached me. “Excuse me,” she asked, “do you have an unopened bottle of water?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An unopened bottle of water\u003c/em>. Somehow, the request seemed to embody all the entitlement and condescension that wine country is known for, and I had to wonder if the woman was among the people cheering earlier for Buddy Guy, who grew up drinking water out of the creek. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country","authors":["185"],"categories":["arts_69"],"tags":["arts_1310","arts_596","arts_769"],"featImg":"arts_11626055","label":"arts"},"arts_11616485":{"type":"posts","id":"arts_11616485","meta":{"index":"posts_1591205157","site":"arts","id":"11616485","score":null,"sort":[1464220811000]},"guestAuthors":[],"slug":"san-francisco-students-find-a-creative-outlet-through-skateboarding","title":"San Francisco Students Find a Creative Outlet Through Skateboarding","publishDate":1464220811,"format":"video","headTitle":"San Francisco Students Find a Creative Outlet Through Skateboarding | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Noah McManus is a skateboard instructor — he teaches a special year-long skateboarding curriculum to at-risk disadvantaged youth at James Lick Middle School. But exactly what he lectures on changes day to day: some days it’s about the importance of community, and on others it’s about overcoming adversity. And just about every day it’s about discovering your creative self amid the contagious enthusiasms of skateboarding.\u003c/p>\n\u003cp>In the four years since he began his work at the school, McManus and his students have built the Jamestown Community Skating Club, which is dedicated to teaching the art and history of skateboarding. For the San Francisco Exploratorium, they also built the Science of Skateboarding Parklet with four murals created in collaboration with the Precita Eyes murals association and visual designs for more than 200 skateboards. They’ve also partnered with local companies and shops to provide every Jamestown Community Skating Club student with a new skateboard.\u003c/p>\n\u003cp>“The art-based curriculum,” McManus explains, “has really helped students feel more confident in expressing themselves and their life skills. Some of these kids are two steps away from joining a gang, or dropping out of school. Their families are being pushed out of the Mission, and they, themselves, are being pushed out of their comfort zones. Many of the kids they have grown up with are gone or leaving. A skateboard gives them a new friend, an outlet, a tool to help them learn the lessons they’ll need to get through school and to get ahead in adult life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Kids at James Lick Middle School are taught not only the art and history of skateboarding, but also the importance of community.","status":"publish","parent":0,"modified":1705034112,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":271},"headData":{"title":"San Francisco Students Find a Creative Outlet Through Skateboarding | KQED","description":"Kids at James Lick Middle School are taught not only the art and history of skateboarding, but also the importance of community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Students Find a Creative Outlet Through Skateboarding","datePublished":"2016-05-26T00:00:11.000Z","dateModified":"2024-01-12T04:35:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=tb8vYa7irHE&feature=youtu.be","sticky":false,"nprByline":"Alex Frantz Ghassan","nprStoryId":"479536458","path":"/arts/11616485/san-francisco-students-find-a-creative-outlet-through-skateboarding","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noah McManus is a skateboard instructor — he teaches a special year-long skateboarding curriculum to at-risk disadvantaged youth at James Lick Middle School. But exactly what he lectures on changes day to day: some days it’s about the importance of community, and on others it’s about overcoming adversity. And just about every day it’s about discovering your creative self amid the contagious enthusiasms of skateboarding.\u003c/p>\n\u003cp>In the four years since he began his work at the school, McManus and his students have built the Jamestown Community Skating Club, which is dedicated to teaching the art and history of skateboarding. For the San Francisco Exploratorium, they also built the Science of Skateboarding Parklet with four murals created in collaboration with the Precita Eyes murals association and visual designs for more than 200 skateboards. They’ve also partnered with local companies and shops to provide every Jamestown Community Skating Club student with a new skateboard.\u003c/p>\n\u003cp>“The art-based curriculum,” McManus explains, “has really helped students feel more confident in expressing themselves and their life skills. Some of these kids are two steps away from joining a gang, or dropping out of school. Their families are being pushed out of the Mission, and they, themselves, are being pushed out of their comfort zones. Many of the kids they have grown up with are gone or leaving. A skateboard gives them a new friend, an outlet, a tool to help them learn the lessons they’ll need to get through school and to get ahead in adult life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11616485/san-francisco-students-find-a-creative-outlet-through-skateboarding","authors":["byline_arts_11616485"],"programs":["arts_1272"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_1310","arts_596","arts_1007"],"featImg":"arts_11616525","label":"arts_1272"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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