Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery
BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions
Three Local Artists Win SFMOMA’s SECA Art Award
Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza
YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse
An Amy Sherald Exhibition Is Coming to SFMOMA in November
In Oakland, 'Dalit Dreamlands' Envisions an Anti-Caste Future
Workers at Oakland’s Creative Growth Form a Union
The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain
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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"aproehl":{"type":"authors","id":"11296","meta":{"index":"authors_1591205172","id":"11296","found":true},"name":"Ariana Proehl","firstName":"Ariana","lastName":"Proehl","slug":"aproehl","email":"aproehl@KQED.org","display_author_email":true,"staff_mastheads":["news"],"title":"Culture Reporter, KQED","bio":"Ariana Proehl is a Culture Reporter and Host.","avatar":"https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g","twitter":"ArianaProehl","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["editor"]},{"site":"education","roles":["editor"]},{"site":"forum","roles":["administrator"]}],"headData":{"title":"Ariana Proehl | KQED","description":"Culture Reporter, KQED","ogImgSrc":"https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/aproehl"},"omayeda":{"type":"authors","id":"11872","meta":{"index":"authors_1591205172","id":"11872","found":true},"name":"Olivia Cruz Mayeda","firstName":"Olivia Cruz","lastName":"Mayeda","slug":"omayeda","email":"omayeda@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Editorial Intern ","bio":"Olivia Cruz Mayeda is a journalist in the Bay Area, a place that has been home to her family for over 100 years. Her writing has appeared in the \u003cem>San Francisco Chronicle\u003c/em> and The San Francisco Standard.","avatar":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]}],"headData":{"title":"Olivia Cruz Mayeda | KQED","description":"Editorial Intern ","ogImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/omayeda"}},"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_13955870":{"type":"posts","id":"arts_13955870","meta":{"index":"posts_1591205157","site":"arts","id":"13955870","score":null,"sort":[1713222798000]},"guestAuthors":[],"slug":"post-apocalyptic-paintings-111-minna-dinosaurs-michael-kerbow-mike-davis-fortune-plague","title":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","publishDate":1713222798,"format":"aside","headTitle":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13955981\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png\" alt=\"A human skull lies on its side in the dirt, covered in cockroaches. Behind stand two electrical pylons and wires while a flying saucer hovers in the sky.\" width=\"1010\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-800x971.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-768x932.png 768w\" sizes=\"(max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">‘Communication is Key’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a very large painting (4 by 5 feet, to be precise) that acts a little bit like a \u003cem>Where’s Waldo\u003c/em> scene for adults. Except, instead of Waldo and friends, the image is one of debauched, unchecked anarchy. \u003c/p>\n\u003cp>Men vomit, boys pee in corners, women are caught in moments of sexual congress, drunks are pickpocketed, small children ready themselves to set off firecrackers and attack people with raised knives. Making this \u003ca href=\"https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder#/media/File:Pieter_Bruegel_the_Elder_-_The_Wedding_Dance_-_30.374_-_Detroit_Institute_of_Arts.jpg\">Breugel-esque scene\u003c/a> even stranger? The time period would appear entirely medieval if not for a banner displaying a UFO and Saturn.\u003c/p>\n\u003cp>[aside postid='arts_13951379']This is \u003cem>The Wedding Party\u003c/em> by \u003ca href=\"https://www.mikedavisfineart.com/\">Mike Davis\u003c/a>, the natural end point of a compelling and disturbing exhibit titled \u003ca href=\"https://111minnagallery.com/product-category/exhibit/survivors-of-the-plague/\">\u003cem>Surviving the Plague\u003c/em>\u003c/a>. The paintings, currently hanging in San Francisco’s 111 Minna Gallery, depict a version of humanity that has been plunged back to the Dark Ages, save for a few surviving cell phones. Alien overlords lurk overhead in flying saucers and artwork hanging around what’s left of humanity. In this new old world, civilization as we know it is gone — and with it, modern social mores.\u003c/p>\n\u003cfigure id=\"attachment_13955968\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png\" alt=\"A painting depicting a medieval scene of chaotic revelry.\" width=\"1690\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-800x654.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1020x834.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-768x628.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1536x1256.png 1536w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wedding Party’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis, the owner of San Francisco’s \u003ca href=\"https://www.everlastingtattoo.com/\">Everlasting Tattoo\u003c/a> shop, unabashedly embraces the bleak in this series of paintings, but never once loses his sense of humor. And the devil is in the details.\u003c/p>\n\u003cp>On first glance, \u003cem>\u003ca href=\"https://111minnagallery.com/shop/always-looking-the-other-way/\">Always Looking the Other Way\u003c/a>\u003c/em>, for example, is simply a gathering of tired-looking souls outside a tavern. On closer inspection, they’re all going out of their way to ignore the fiery flying saucer that has crash-landed nearby. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://111minnagallery.com/shop/no-time-to-lose-2/\">\u003cem>No Time to Lose\u003c/em>\u003c/a>, a man is pinned down by a giant red scorpion and forced to sketch explanatory diagrams of every day objects. He is drawing with a feather quill despite the fact that a functioning laptop lies open on the ground before him.\u003c/p>\n\u003cfigure id=\"attachment_13955975\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png\" alt=\"A dark medieval tavern with gathered drinkers. One, with a bandaged face, holds a glowing model of Saturn. Another sits in front of a waving skeleton with oversized head.\" width=\"1460\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-800x673.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-1020x858.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-768x646.png 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">‘Plots and Skullduggery’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clashing visual time cues inherent across \u003cem>Surviving the Plague\u003c/em> are mirrored by the other exhibit currently on display at 111 Minna. In \u003ca href=\"https://www.michaelkerbow.com/\">Michael Kerbow\u003c/a>’s \u003cem>Reversal of Fortune\u003c/em>, dinosaurs have reclaimed the Earth after a series of climate disasters that are hinted at by obscured sunlight, floods and erupting volcanoes on the horizon. These post-historic monsters wade through flooded cities, around plastic detritus, over rusting car piles and underneath dilapidated fast food signs.\u003c/p>\n\u003cp>The wastefulness of modern comfort is writ large throughout.\u003c/p>\n\u003cfigure id=\"attachment_13955882\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png\" alt=\"A painting of a group of wooly mammoth congregating outside a Wal-Mart in the snow.\" width=\"1470\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-768x584.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">‘Frozen Markets’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most disquieting aspect of Kerbow’s work is just how natural it all seems. In Kerbow’s hands, a herd of woolly mammoths outside a Walmart (\u003ca href=\"https://111minnagallery.com/shop/frozen-markets/\">\u003cem>Frozen Markets\u003c/em>\u003c/a>) looks eerily at home. In \u003ca href=\"https://111minnagallery.com/shop/highwater/\">\u003cem>Highwater\u003c/em>\u003c/a>, a trio of brachiosauruses wading through a flooded downtown full of high-rises reclaimed by nature feels somehow … inevitable.\u003c/p>\n\u003cp>More than anything, Kerbow reminds us that humanity’s waste will be around on Earth eons after we’re gone. Whomever — or whatever — comes next will be left to deal with our marriage to convenience over self preservation.\u003c/p>\n\u003cfigure id=\"attachment_13955878\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png\" alt=\"A painting of three long necked dinosaur wading through a flooded city. Under the water, cars are scattered.\" width=\"1798\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1020x614.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-768x462.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1536x924.png 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">‘Highwater’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at Kerbow’s work, one can’t help but think about the fact that the dinosaurs were meteor-ed into extinction while living in ecological harmony with the planet. If that’s the fate that befell them, what the hell is humanity lining up for itself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Survivors of the Plague x Reversal of Fortune’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through June 20, 2024. Viewing appointments can be made by emailing David Young at \u003ca href=\"mailto:dyoungv@111minnagallery.com\">dyoungv@111minnagallery.com\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Paintings by Mike Davis and Michael Kerbow predict what happens to Earth when humans are no longer in charge.","status":"publish","parent":0,"modified":1713222798,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":644},"headData":{"title":"Post-Apocalyptic Paintings Inspire Awe at 111 Minna Gallery in SF | KQED","description":"Paintings by Mike Davis and Michael Kerbow predict what happens to Earth when humans are no longer in charge.","ogTitle":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","ogDescription":"","ogImgId":"","twTitle":"Post-Apocalyptic Visions of Earth Aren’t So Far-Fetched at 111 Minna Gallery","twDescription":"","twImgId":"","socialTitle":"Post-Apocalyptic Paintings Inspire Awe at 111 Minna Gallery in SF %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955870/post-apocalyptic-paintings-111-minna-dinosaurs-michael-kerbow-mike-davis-fortune-plague","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955981\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png\" alt=\"A human skull lies on its side in the dirt, covered in cockroaches. Behind stand two electrical pylons and wires while a flying saucer hovers in the sky.\" width=\"1010\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM.png 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-800x971.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.55.58-AM-768x932.png 768w\" sizes=\"(max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">‘Communication is Key’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture if you will, a very large painting (4 by 5 feet, to be precise) that acts a little bit like a \u003cem>Where’s Waldo\u003c/em> scene for adults. Except, instead of Waldo and friends, the image is one of debauched, unchecked anarchy. \u003c/p>\n\u003cp>Men vomit, boys pee in corners, women are caught in moments of sexual congress, drunks are pickpocketed, small children ready themselves to set off firecrackers and attack people with raised knives. Making this \u003ca href=\"https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder#/media/File:Pieter_Bruegel_the_Elder_-_The_Wedding_Dance_-_30.374_-_Detroit_Institute_of_Arts.jpg\">Breugel-esque scene\u003c/a> even stranger? The time period would appear entirely medieval if not for a banner displaying a UFO and Saturn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951379","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This is \u003cem>The Wedding Party\u003c/em> by \u003ca href=\"https://www.mikedavisfineart.com/\">Mike Davis\u003c/a>, the natural end point of a compelling and disturbing exhibit titled \u003ca href=\"https://111minnagallery.com/product-category/exhibit/survivors-of-the-plague/\">\u003cem>Surviving the Plague\u003c/em>\u003c/a>. The paintings, currently hanging in San Francisco’s 111 Minna Gallery, depict a version of humanity that has been plunged back to the Dark Ages, save for a few surviving cell phones. Alien overlords lurk overhead in flying saucers and artwork hanging around what’s left of humanity. In this new old world, civilization as we know it is gone — and with it, modern social mores.\u003c/p>\n\u003cfigure id=\"attachment_13955968\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png\" alt=\"A painting depicting a medieval scene of chaotic revelry.\" width=\"1690\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-800x654.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1020x834.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-768x628.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-10.19.38-AM-1536x1256.png 1536w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wedding Party’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis, the owner of San Francisco’s \u003ca href=\"https://www.everlastingtattoo.com/\">Everlasting Tattoo\u003c/a> shop, unabashedly embraces the bleak in this series of paintings, but never once loses his sense of humor. And the devil is in the details.\u003c/p>\n\u003cp>On first glance, \u003cem>\u003ca href=\"https://111minnagallery.com/shop/always-looking-the-other-way/\">Always Looking the Other Way\u003c/a>\u003c/em>, for example, is simply a gathering of tired-looking souls outside a tavern. On closer inspection, they’re all going out of their way to ignore the fiery flying saucer that has crash-landed nearby. \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>In \u003ca href=\"https://111minnagallery.com/shop/no-time-to-lose-2/\">\u003cem>No Time to Lose\u003c/em>\u003c/a>, a man is pinned down by a giant red scorpion and forced to sketch explanatory diagrams of every day objects. He is drawing with a feather quill despite the fact that a functioning laptop lies open on the ground before him.\u003c/p>\n\u003cfigure id=\"attachment_13955975\" class=\"wp-caption aligncenter\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png\" alt=\"A dark medieval tavern with gathered drinkers. One, with a bandaged face, holds a glowing model of Saturn. Another sits in front of a waving skeleton with oversized head.\" width=\"1460\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM.png 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-800x673.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-1020x858.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-15-at-11.02.29-AM-768x646.png 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">‘Plots and Skullduggery’ by Mike Davis. \u003ccite>(Mike Davis/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clashing visual time cues inherent across \u003cem>Surviving the Plague\u003c/em> are mirrored by the other exhibit currently on display at 111 Minna. In \u003ca href=\"https://www.michaelkerbow.com/\">Michael Kerbow\u003c/a>’s \u003cem>Reversal of Fortune\u003c/em>, dinosaurs have reclaimed the Earth after a series of climate disasters that are hinted at by obscured sunlight, floods and erupting volcanoes on the horizon. These post-historic monsters wade through flooded cities, around plastic detritus, over rusting car piles and underneath dilapidated fast food signs.\u003c/p>\n\u003cp>The wastefulness of modern comfort is writ large throughout.\u003c/p>\n\u003cfigure id=\"attachment_13955882\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png\" alt=\"A painting of a group of wooly mammoth congregating outside a Wal-Mart in the snow.\" width=\"1470\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-1020x776.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.38.43-PM-768x584.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">‘Frozen Markets’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most disquieting aspect of Kerbow’s work is just how natural it all seems. In Kerbow’s hands, a herd of woolly mammoths outside a Walmart (\u003ca href=\"https://111minnagallery.com/shop/frozen-markets/\">\u003cem>Frozen Markets\u003c/em>\u003c/a>) looks eerily at home. In \u003ca href=\"https://111minnagallery.com/shop/highwater/\">\u003cem>Highwater\u003c/em>\u003c/a>, a trio of brachiosauruses wading through a flooded downtown full of high-rises reclaimed by nature feels somehow … inevitable.\u003c/p>\n\u003cp>More than anything, Kerbow reminds us that humanity’s waste will be around on Earth eons after we’re gone. Whomever — or whatever — comes next will be left to deal with our marriage to convenience over self preservation.\u003c/p>\n\u003cfigure id=\"attachment_13955878\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png\" alt=\"A painting of three long necked dinosaur wading through a flooded city. Under the water, cars are scattered.\" width=\"1798\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM.png 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1020x614.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-768x462.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-11-at-5.30.21-PM-1536x924.png 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">‘Highwater’ by Michael Kerbow. \u003ccite>(Michael Kerbow/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at Kerbow’s work, one can’t help but think about the fact that the dinosaurs were meteor-ed into extinction while living in ecological harmony with the planet. If that’s the fate that befell them, what the hell is humanity lining up for itself?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Survivors of the Plague x Reversal of Fortune’ is on display at \u003ca href=\"https://111minnagallery.com/\">111 Minna Gallery\u003c/a> through June 20, 2024. Viewing appointments can be made by emailing David Young at \u003ca href=\"mailto:dyoungv@111minnagallery.com\">dyoungv@111minnagallery.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955870/post-apocalyptic-paintings-111-minna-dinosaurs-michael-kerbow-mike-davis-fortune-plague","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_22079","arts_769","arts_1146","arts_585"],"featImg":"arts_13955980","label":"arts_140"},"arts_13955969":{"type":"posts","id":"arts_13955969","meta":{"index":"posts_1591205157","site":"arts","id":"13955969","score":null,"sort":[1713212390000]},"guestAuthors":[],"slug":"a-movement-in-every-direction-bampfa-the-great-migration-review","title":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","publishDate":1713212390,"format":"standard","headTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘A Movement in Every Direction’ presents intricate, individual family stories in work by 12 artists.","status":"publish","parent":0,"modified":1713212390,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1024},"headData":{"title":"BAMPFA Show Tells Stories of the Great Migration Through Art | KQED","description":"‘A Movement in Every Direction’ presents intricate, individual family stories in work by 12 artists.","ogTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","ogDescription":"","ogImgId":"","twTitle":"BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions","twDescription":"","twImgId":"","socialTitle":"BAMPFA Show Tells Stories of the Great Migration Through Art %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955969/a-movement-in-every-direction-bampfa-the-great-migration-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\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>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955969/a-movement-in-every-direction-bampfa-the-great-migration-review","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_10278","arts_13952","arts_769","arts_585"],"featImg":"arts_13955973","label":"arts_140"},"arts_13955864":{"type":"posts","id":"arts_13955864","meta":{"index":"posts_1591205157","site":"arts","id":"13955864","score":null,"sort":[1712937619000]},"guestAuthors":[],"slug":"sfmoma-2024-seca-art-award-announcement","title":"Three Local Artists Win SFMOMA’s SECA Art Award","publishDate":1712937619,"format":"standard","headTitle":"Three Local Artists Win SFMOMA’s SECA Art Award | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Museum of Modern Art has announced the three winners of the 2024 SECA Art Award: Lauren D’Amato, Angela Hennesy and Rupy C. Tut. The artists will have an exhibition at the museum Dec. 14, 2024–May 25, 2025 accompanied by a publication. \u003c/p>\n\u003cp>Curated by Maria Castro, assistant curator of painting and sculpture, and Shana Lopes, assistant curator of photography, this year’s SECA awardees were narrowed down from a list of \u003ca href=\"https://www.kqed.org/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award\">16 finalists\u003c/a> after studio visits and a month of deliberation. The resulting exhibition, on the museum’s second floor, will give each artist an entire gallery for the presentation of new and recent work.\u003c/p>\n\u003cp>And what will that work be? Expect precise paintings, commanding sculptural installations and detailed scenes on paper and linen.\u003c/p>\n\u003cfigure id=\"attachment_13955876\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg\" alt='wide painting of diamond shapes with lettering \"star market\" reflected back and forth' width=\"2400\" height=\"1075\" class=\"size-full wp-image-13955876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1020x457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1536x688.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-2048x917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1920x860.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato, ‘Star Market,’ 2024. \u003ccite>(Yubo Dong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.laurendamato.com/\">Lauren D’Amato\u003c/a>, trained as a sign painter and pinstriper, has developed a crisp and text-filled painting style that pays homage to the signage of everyday city life. She renders the ghostly remnants of businesses as if seen through car windows, semi-obscured by shining chrome. A \u003ca href=\"https://houseofseiko.info/complete_machine\">recent show\u003c/a> at San Francisco’s House of Seiko included a mechanized sculpture of rusty metal, painted glass and a slowly spinning hubcap.\u003c/p>\n\u003cp>\u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>’s deeply meditative art, often installed in black-walled exhibition spaces, uses the gestures of domestic labor (wrapping, stitching, braiding) to construct somber, intricate sculptures. Her material lists are often long, including elements like the artist’s own hair, gold leaf and twist ties. Her large-scale mourning wreaths, hanging textiles and tall standing sculptures touch on the artist’s personal experience of gun violence (she survived a gunshot wound in 2015) and her work as a hospice volunteer. \u003c/p>\n\u003cfigure id=\"attachment_13955873\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg\" alt=\"painting of white-clad person under greenery covered umbrella perched on globe\" width=\"1766\" height=\"2500\" class=\"size-full wp-image-13955873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1447x2048.jpg 1447w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Rupy C. Tut, ‘A Place Dear to Me,’ 2024. \u003ccite>(Photo by Phillip Maisel; Courtesy of the artist and Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.rupyctut.com/\">Rupy C. Tut\u003c/a>’s vibrant paintings on linen and hemp paper borrow from the language of calligraphy and traditional Indian painting to depict women in dense, lush landscapes. In action and in repose, they often blend into their natural surroundings, Tut’s tiny brushstrokes embellishing fabric and foliage with the same lively intensity.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The 2024 SECA Art Award exhibition will take place at the San Francisco Museum of Modern Art Dec. 14, 2024–May 25, 2025.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Lauren D’Amato, Angela Hennessy and Rupy C. Tut will open an exhibition at the museum in December.","status":"publish","parent":0,"modified":1712881846,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":404},"headData":{"title":"Three Local Artists Win SFMOMA’s SECA Art Award | KQED","description":"Lauren D’Amato, Angela Hennessy and Rupy C. Tut will open an exhibition at the museum in December.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955864/sfmoma-2024-seca-art-award-announcement","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art has announced the three winners of the 2024 SECA Art Award: Lauren D’Amato, Angela Hennesy and Rupy C. Tut. The artists will have an exhibition at the museum Dec. 14, 2024–May 25, 2025 accompanied by a publication. \u003c/p>\n\u003cp>Curated by Maria Castro, assistant curator of painting and sculpture, and Shana Lopes, assistant curator of photography, this year’s SECA awardees were narrowed down from a list of \u003ca href=\"https://www.kqed.org/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award\">16 finalists\u003c/a> after studio visits and a month of deliberation. The resulting exhibition, on the museum’s second floor, will give each artist an entire gallery for the presentation of new and recent work.\u003c/p>\n\u003cp>And what will that work be? Expect precise paintings, commanding sculptural installations and detailed scenes on paper and linen.\u003c/p>\n\u003cfigure id=\"attachment_13955876\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg\" alt='wide painting of diamond shapes with lettering \"star market\" reflected back and forth' width=\"2400\" height=\"1075\" class=\"size-full wp-image-13955876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1020x457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1536x688.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-2048x917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1920x860.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato, ‘Star Market,’ 2024. \u003ccite>(Yubo Dong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.laurendamato.com/\">Lauren D’Amato\u003c/a>, trained as a sign painter and pinstriper, has developed a crisp and text-filled painting style that pays homage to the signage of everyday city life. She renders the ghostly remnants of businesses as if seen through car windows, semi-obscured by shining chrome. A \u003ca href=\"https://houseofseiko.info/complete_machine\">recent show\u003c/a> at San Francisco’s House of Seiko included a mechanized sculpture of rusty metal, painted glass and a slowly spinning hubcap.\u003c/p>\n\u003cp>\u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>’s deeply meditative art, often installed in black-walled exhibition spaces, uses the gestures of domestic labor (wrapping, stitching, braiding) to construct somber, intricate sculptures. Her material lists are often long, including elements like the artist’s own hair, gold leaf and twist ties. Her large-scale mourning wreaths, hanging textiles and tall standing sculptures touch on the artist’s personal experience of gun violence (she survived a gunshot wound in 2015) and her work as a hospice volunteer. \u003c/p>\n\u003cfigure id=\"attachment_13955873\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg\" alt=\"painting of white-clad person under greenery covered umbrella perched on globe\" width=\"1766\" height=\"2500\" class=\"size-full wp-image-13955873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1447x2048.jpg 1447w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Rupy C. Tut, ‘A Place Dear to Me,’ 2024. \u003ccite>(Photo by Phillip Maisel; Courtesy of the artist and Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.rupyctut.com/\">Rupy C. Tut\u003c/a>’s vibrant paintings on linen and hemp paper borrow from the language of calligraphy and traditional Indian painting to depict women in dense, lush landscapes. In action and in repose, they often blend into their natural surroundings, Tut’s tiny brushstrokes embellishing fabric and foliage with the same lively intensity.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The 2024 SECA Art Award exhibition will take place at the San Francisco Museum of Modern Art Dec. 14, 2024–May 25, 2025.\u003c/i>\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/13955864/sfmoma-2024-seca-art-award-announcement","authors":["61"],"categories":["arts_1","arts_70"],"featImg":"arts_13955871","label":"arts"},"arts_13955463":{"type":"posts","id":"arts_13955463","meta":{"index":"posts_1591205157","site":"arts","id":"13955463","score":null,"sort":[1712269964000]},"guestAuthors":[],"slug":"indigenous-artists-oakland-to-palestine","title":"Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza","publishDate":1712269964,"format":"standard","headTitle":"Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Printmakers, protest photographers and jewelry makers will sell work this Sunday at an art show with proceeds going to the Middle East Children’s Alliance.\u003c/p>\n\u003cp>Oakland photographer Ashley Salaz and artist Nicole Gervacio say that the show, \u003cem>\u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Artists Rising: Oakland to Palestine\u003c/a>\u003c/em>, is grounded in Indigenous artistry and solidarity with Palestine. Salaz, who is of the Coharie Tribe in North Carolina and works for local Indigenous-led organization Sogorea Te’, says there are overwhelming commonalities in the experiences of Native folks and the Palestinian people.\u003c/p>\n\u003cp>[aside postID='arts_13939726']“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>[aside postID='arts_13940325']One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Artists Rising: Oakland to Palestine' offers prints, zines and protest photography to benefit the Middle East Children’s Alliance.\r\n","status":"publish","parent":0,"modified":1712272862,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":376},"headData":{"title":"‘Oakland to Palestine:’ Indigenous Artists Sell Work to Benefit Assistance Efforts in Gaza | KQED","description":"'Artists Rising: Oakland to Palestine' offers prints, zines and protest photography to benefit the Middle East Children’s Alliance.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Oakland to Palestine:’ Indigenous Artists Sell Work to Benefit Assistance Efforts in Gaza %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955463/indigenous-artists-oakland-to-palestine","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Printmakers, protest photographers and jewelry makers will sell work this Sunday at an art show with proceeds going to the Middle East Children’s Alliance.\u003c/p>\n\u003cp>Oakland photographer Ashley Salaz and artist Nicole Gervacio say that the show, \u003cem>\u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Artists Rising: Oakland to Palestine\u003c/a>\u003c/em>, is grounded in Indigenous artistry and solidarity with Palestine. Salaz, who is of the Coharie Tribe in North Carolina and works for local Indigenous-led organization Sogorea Te’, says there are overwhelming commonalities in the experiences of Native folks and the Palestinian people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939726","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\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>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940325","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955463/indigenous-artists-oakland-to-palestine","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_8838","arts_21682","arts_5375","arts_585"],"featImg":"arts_13955485","label":"arts_140"},"arts_13955381":{"type":"posts","id":"arts_13955381","meta":{"index":"posts_1591205157","site":"arts","id":"13955381","score":null,"sort":[1712187238000]},"guestAuthors":[],"slug":"experimental-films-the-lab-counterpulse-ybca","title":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","publishDate":1712187238,"format":"standard","headTitle":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\n\u003cp>https://vimeo.com/85962209\u003c/p>\n\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Audiences can now catch a night curated by Artists’ Television Access and an artist’s meditation on color.","status":"publish","parent":0,"modified":1712187238,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":496},"headData":{"title":"YBCA’s Film Programs Relocate The Lab and CounterPulse | KQED","description":"Audiences can now catch a night curated by Artists’ Television Access and an artist’s meditation on color.","ogTitle":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","ogDescription":"","ogImgId":"","twTitle":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","twDescription":"","twImgId":"","socialTitle":"YBCA’s Film Programs Relocate The Lab and CounterPulse %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955381/experimental-films-the-lab-counterpulse-ybca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"85962209"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\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>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955381/experimental-films-the-lab-counterpulse-ybca","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69","arts_70"],"tags":["arts_1018","arts_10278","arts_977","arts_1146","arts_4109","arts_585"],"featImg":"arts_13955401","label":"arts_140"},"arts_13955286":{"type":"posts","id":"arts_13955286","meta":{"index":"posts_1591205157","site":"arts","id":"13955286","score":null,"sort":[1712099206000]},"guestAuthors":[],"slug":"amy-sherald-sfmoma-american-sublime","title":"An Amy Sherald Exhibition Is Coming to SFMOMA in November","publishDate":1712099206,"format":"aside","headTitle":"An Amy Sherald Exhibition Is Coming to SFMOMA in November | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The painter’s signature portraits of Black subjects will continue on to the Whitney Museum.","status":"publish","parent":0,"modified":1712099206,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":476},"headData":{"title":"An Amy Sherald Exhibition Is Coming to SFMOMA in November | KQED","description":"The painter’s signature portraits of Black subjects will continue on to the Whitney Museum.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955286/amy-sherald-sfmoma-american-sublime","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\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>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955286/amy-sherald-sfmoma-american-sublime","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1146","arts_1381","arts_585","arts_901"],"featImg":"arts_13955291","label":"arts_140"},"arts_13955195":{"type":"posts","id":"arts_13955195","meta":{"index":"posts_1591205157","site":"arts","id":"13955195","score":null,"sort":[1712085103000]},"guestAuthors":[],"slug":"dalit-dreamlands-anti-caste-future-exhibition-oakland","title":"In Oakland, 'Dalit Dreamlands' Envisions an Anti-Caste Future","publishDate":1712085103,"format":"standard","headTitle":"In Oakland, ‘Dalit Dreamlands’ Envisions an Anti-Caste Future | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 2022, \u003ca href=\"https://www.instagram.com/meowingmanu/?hl=en\">Manu Kaur\u003c/a> experienced severe hopelessness and depression, to the point of being hospitalized. Kaur, who is Punjabi and Dalit – the latter being a term used to describe the most oppressed people in India’s caste system — comes from a family with a lot of intergenerational trauma. “And as a result, there’s just a lot of mental health issues,” Kaur says. “Depression runs deep.”\u003c/p>\n\u003cp>After Kaur recovered, they decided to host a birthday party to celebrate their life. “It was very queer. It was very trans. It was very rooted in joy and celebration,” Kaur says. “It gave me so much more purpose. And it kind of just showed me like, if I can do that for myself, then I can also do it for [the] community.”\u003c/p>\n\u003cfigure id=\"attachment_13955198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg\" alt=\"A painting of a man wearing glasses with raised fists around him.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A painting titled ‘Babasaheb Ambedkar with Ambedkarites raising their voices’ by artist Jay Sagathia. \u003ccite>(Jay Sagathia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so they did. Through an Emerging Curators Program with the \u003ca href=\"https://www.aawaa.net/\">Asian American Women Artists Association\u003c/a>, Kaur curated \u003ca href=\"https://www.aawaa.net/dalit-dreamlands\">\u003ci>Dalit Dreamlands: Towards an Anti-Caste Future\u003c/i>\u003c/a>, a multimedia exhibition spotlighting over 30 artists from Dalit, Adivasi (tribes indigenous to South Asia), Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities.\u003c/p>\n\u003cfigure id=\"attachment_13955199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg\" alt=\"A profile shot of a non-binary person with their eyes closed wearing a light blue turban.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ‘Dalit Dreamlands’ curator Manu Kaur. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening April 6 during \u003ca href=\"https://en.wikipedia.org/wiki/Dalit_History_Month#:~:text=Dalit%20History%20Month%20is%20an,Ambedkar.\">Dalit History Month\u003c/a>, the exhibition showcases \u003ca href=\"https://www.instagram.com/dalitdreamlands/\">artists working in digital art, painting, fashion design, film and more\u003c/a>. Kaur is featured in the exhibition, as well, in family photographs by photographer \u003ca href=\"https://www.instagram.com/simrahfarrukh/\">Simrah Farrukh\u003c/a>.\u003c/p>\n\u003cp>“It was the first time that my family and I had professional photos taken of us, like, ever. And so that was so meaningful to me because my family doesn’t often get to be celebrated,” Kaur says. “And now to have them exhibited in a gallery space feels so incredible to me.”\u003c/p>\n\u003cfigure id=\"attachment_13955196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg\" alt=\"An elder man wearing a turban sits in front of a wall with two paintings on it.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Manu Kaur’s maternal grandfather, who they call Papi ji. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaur hopes the exhibition will educate people on what being Dalit means; “There’s no one ‘look’ to being Dalit,” Kaur says. They also hope it represents the community’s reclamation of the term – which literally translates to “broken” in Sanskrit – and how the community is advocating for a more just future. Kaur says that’s why calling the exhibition \u003ci>Dalit Dreamlands\u003c/i> felt right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way I would say it in Punjabi is ‘Begampura,’ which is supposed to be this utopian land, free of caste, free of discrimination,” Kaur says. The term was coined by Guru Ravidas, the ancient Indian poet, centuries ago. “And so I’m taking that and making it this big umbrella, which is like queer and trans and Dalit and pro-Black, pro-Palestine – all of those things. And so the name stuck because it feels like it’s a dream that I’m making reality.”\u003c/p>\n\u003cfigure id=\"attachment_13955197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg\" alt=\"A profile shot of a person draped in a decorative gold top against a blue background.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-scaled.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait of Seema Hari. In addition to being in the exhibition, Hari is one of the DJs at the opening night dance party. \u003ccite>(Seema Hari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dalit Dreamlands: Towards an Anti-Caste Future’ is on view April 6–June 10 at the \u003ca href=\"https://oacc.cc/\">Oakland Asian Cultural Center\u003c/a> (388 9th St. Suite 290, Oakland) and \u003ca href=\"https://www.artogether.org/\">ARTogether\u003c/a> (1200 Harrison St., Oakland). A Zindagi Dance Party follows the opening receptions on April 6 at 7th West (1255 7th St, Oakland). \u003ca href=\"https://lu.ma/dalitdreamlands\">All exhibition and party details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The exhibition includes over 30 artists from Dalit, Adivasi, Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities. ","status":"publish","parent":0,"modified":1712865963,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":589},"headData":{"title":"In Oakland, 'Dalit Dreamlands' Envisions an Anti-Caste Future | KQED","description":"The exhibition includes over 30 artists from Dalit, Adivasi, Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/aec341b3-b1a8-4c00-8f8f-b14f01082843/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955195/dalit-dreamlands-anti-caste-future-exhibition-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2022, \u003ca href=\"https://www.instagram.com/meowingmanu/?hl=en\">Manu Kaur\u003c/a> experienced severe hopelessness and depression, to the point of being hospitalized. Kaur, who is Punjabi and Dalit – the latter being a term used to describe the most oppressed people in India’s caste system — comes from a family with a lot of intergenerational trauma. “And as a result, there’s just a lot of mental health issues,” Kaur says. “Depression runs deep.”\u003c/p>\n\u003cp>After Kaur recovered, they decided to host a birthday party to celebrate their life. “It was very queer. It was very trans. It was very rooted in joy and celebration,” Kaur says. “It gave me so much more purpose. And it kind of just showed me like, if I can do that for myself, then I can also do it for [the] community.”\u003c/p>\n\u003cfigure id=\"attachment_13955198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg\" alt=\"A painting of a man wearing glasses with raised fists around him.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A painting titled ‘Babasaheb Ambedkar with Ambedkarites raising their voices’ by artist Jay Sagathia. \u003ccite>(Jay Sagathia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so they did. Through an Emerging Curators Program with the \u003ca href=\"https://www.aawaa.net/\">Asian American Women Artists Association\u003c/a>, Kaur curated \u003ca href=\"https://www.aawaa.net/dalit-dreamlands\">\u003ci>Dalit Dreamlands: Towards an Anti-Caste Future\u003c/i>\u003c/a>, a multimedia exhibition spotlighting over 30 artists from Dalit, Adivasi (tribes indigenous to South Asia), Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities.\u003c/p>\n\u003cfigure id=\"attachment_13955199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg\" alt=\"A profile shot of a non-binary person with their eyes closed wearing a light blue turban.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ‘Dalit Dreamlands’ curator Manu Kaur. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening April 6 during \u003ca href=\"https://en.wikipedia.org/wiki/Dalit_History_Month#:~:text=Dalit%20History%20Month%20is%20an,Ambedkar.\">Dalit History Month\u003c/a>, the exhibition showcases \u003ca href=\"https://www.instagram.com/dalitdreamlands/\">artists working in digital art, painting, fashion design, film and more\u003c/a>. Kaur is featured in the exhibition, as well, in family photographs by photographer \u003ca href=\"https://www.instagram.com/simrahfarrukh/\">Simrah Farrukh\u003c/a>.\u003c/p>\n\u003cp>“It was the first time that my family and I had professional photos taken of us, like, ever. And so that was so meaningful to me because my family doesn’t often get to be celebrated,” Kaur says. “And now to have them exhibited in a gallery space feels so incredible to me.”\u003c/p>\n\u003cfigure id=\"attachment_13955196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg\" alt=\"An elder man wearing a turban sits in front of a wall with two paintings on it.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Manu Kaur’s maternal grandfather, who they call Papi ji. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaur hopes the exhibition will educate people on what being Dalit means; “There’s no one ‘look’ to being Dalit,” Kaur says. They also hope it represents the community’s reclamation of the term – which literally translates to “broken” in Sanskrit – and how the community is advocating for a more just future. Kaur says that’s why calling the exhibition \u003ci>Dalit Dreamlands\u003c/i> felt right.\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 way I would say it in Punjabi is ‘Begampura,’ which is supposed to be this utopian land, free of caste, free of discrimination,” Kaur says. The term was coined by Guru Ravidas, the ancient Indian poet, centuries ago. “And so I’m taking that and making it this big umbrella, which is like queer and trans and Dalit and pro-Black, pro-Palestine – all of those things. And so the name stuck because it feels like it’s a dream that I’m making reality.”\u003c/p>\n\u003cfigure id=\"attachment_13955197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg\" alt=\"A profile shot of a person draped in a decorative gold top against a blue background.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-scaled.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait of Seema Hari. In addition to being in the exhibition, Hari is one of the DJs at the opening night dance party. \u003ccite>(Seema Hari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dalit Dreamlands: Towards an Anti-Caste Future’ is on view April 6–June 10 at the \u003ca href=\"https://oacc.cc/\">Oakland Asian Cultural Center\u003c/a> (388 9th St. Suite 290, Oakland) and \u003ca href=\"https://www.artogether.org/\">ARTogether\u003c/a> (1200 Harrison St., Oakland). A Zindagi Dance Party follows the opening receptions on April 6 at 7th West (1255 7th St, Oakland). \u003ca href=\"https://lu.ma/dalitdreamlands\">All exhibition and party details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955195/dalit-dreamlands-anti-caste-future-exhibition-oakland","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_8238","arts_1143","arts_585"],"featImg":"arts_13955201","label":"arts_140"},"arts_13955182":{"type":"posts","id":"arts_13955182","meta":{"index":"posts_1591205157","site":"arts","id":"13955182","score":null,"sort":[1712084620000]},"guestAuthors":[],"slug":"creative-growth-united-union-announcement-oakland","title":"Workers at Oakland’s Creative Growth Form a Union","publishDate":1712084620,"format":"standard","headTitle":"Workers at Oakland’s Creative Growth Form a Union | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>[aside postID='arts_13954144,arts_13951003']Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n","blocks":[],"excerpt":"Creative Growth, which serves artist with disabilities, is Oakland’s second-largest arts organization.","status":"publish","parent":0,"modified":1712084620,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":878},"headData":{"title":"Workers at Oakland’s Creative Growth Form a Union | KQED","description":"Creative Growth, which serves artist with disabilities, is Oakland’s second-largest arts organization.","ogTitle":"Workers at Oakland’s Creative Growth Announce Formation of Union","ogDescription":"","ogImgId":"","twTitle":"Workers at Oakland’s Creative Growth Announce Formation of Union","twDescription":"","twImgId":"","socialTitle":"Workers at Oakland’s Creative Growth Form a Union %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955182/creative-growth-united-union-announcement-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954144,arts_13951003","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\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>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955182/creative-growth-united-union-announcement-oakland","authors":["61"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_9693","arts_10278","arts_2639","arts_1143","arts_21264"],"featImg":"arts_13954785","label":"arts"},"arts_13954510":{"type":"posts","id":"arts_13954510","meta":{"index":"posts_1591205157","site":"arts","id":"13954510","score":null,"sort":[1712001883000]},"guestAuthors":[],"slug":"sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists","title":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain","publishDate":1712001883,"format":"standard","headTitle":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When audiences make their way into the War Memorial Opera House for San Francisco Ballet’s \u003ci>\u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Dos Mujeres\u003c/a>\u003c/i>, a double-bill presentation of Arielle Smith’s \u003ci>Carmen\u003c/i> (a world premiere) and Annabelle Lopez Ochoa’s \u003ci>Broken Wings\u003c/i>, they will rest their eyes upon a very different kind of curtain.\u003c/p>\n\u003cp>Instead of gold velvet drapery, they’ll be looking at a 30-by-60-foot mural on canvas, a hand-painted translation of a textile piece created by Oakland artist \u003ca href=\"https://www.instagram.com/mariaguzmancapron/\">Maria A. Guzmán Capron\u003c/a>.\u003c/p>\n\u003cp>Far in advance of opening night — with warehouse space at a premium — SF Ballet’s scenic artists put the finishing touches on the piece, before all 229 pounds of the painting were folded up to await its eventual unveiling on April 4. (Even this is a big to-do, involving scissor-lifts and hours of steaming.)\u003c/p>\n\u003cp>Walking across the painted canvas surface in early February, Capron was thrilled to take in the dense design of trompe-l’oeil patterns and colored stitching. “It is a wild experience because I never get to do that with my work, to feel really immersed by it,” she said. “It makes me feel more part of it in some way, like I am \u003ci>in\u003c/i> it.”\u003c/p>\n\u003cfigure id=\"attachment_13951445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg\" alt=\"Two people talk, one gestures with arms in front of brightly painted large canvas on floor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Capron talks with Charge Scenic Artist Robert Burg in the SF Ballet’s San Francisco scene shop in February 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the way we feel about everything we work on,” agreed Robert Burg, charge scenic artist for SF Ballet. “There’s a very personal connection to the pieces we work on, especially the backdrops we paint.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burg, along with Scenic Artists David Dunn and Garrett Lowe, translated Capron’s 43-by-48-inch textile piece into mural form, tracing the images out in charcoal on paper, priming the massive stapled-down canvas, then creating stencils and special tools to more accurately capture the depth and texture of the original work.\u003c/p>\n\u003cp>The three men stood over the canvas for about a month, a print-out in one hand and a paintbrush attached to a long stick in the other, rendering cotton, satins and lace at a monumental scale.\u003c/p>\n\u003cp>One specially made tool, a notched foam roller, was the result of weeks of pondering how to get Capron’s stitches just right. “When we came up with the idea, it worked even better than we thought,” Burg said.\u003c/p>\n\u003cfigure id=\"attachment_13954565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg\" alt=\"circular foam roller with notches cut into it traces a dotted line across a painted canvas\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scenic artist demonstrates how a foam roller was used to create the ‘stitching’ in Capron’s mural. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dunn concurred: “It just was such a satisfying kind of way to finish.”\u003c/p>\n\u003cp>(“I always say, nobody ever loved a tool on a stick as much as David,” Burg said.)\u003c/p>\n\u003cp>The mural is a merger of the shop’s classic scenic art techniques and SF Ballet’s new direction under Artistic Director Tamara Rojo. “This is just a fun project for us because it’s a little outside of our usual scope of old architecture,” Burg said, describing their traditional fare as “somebody’s cottage or palace.”\u003c/p>\n\u003cp>“But our company is doing \u003ca href=\"https://www.kqed.org/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton\">a lot of unusual and new stuff these days\u003c/a>, which is wonderful because it’s about keeping the art alive,” he added.\u003c/p>\n\u003cp>Capron was given a video of rehearsals of \u003ci>Carmen\u003c/i>, and footage from previous performances of \u003ci>Broken Wings\u003c/i>. Her figures’ overlapping stance, tangled below and heart-shaped above, comes from \u003ci>Carmen\u003c/i>’s choreography. The swirl of flowers that surrounds them is an homage to the twirling skirts of the dancers in \u003ci>Broken Wings\u003c/i>, a ballet about the life of Frida Kahlo.\u003c/p>\n\u003cfigure id=\"attachment_13951444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg\" alt=\"Print-outs of mural design propped on stand in front of the painted mural\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Print-outs of Capron’s textile collage sit on a table near a large-scale version made by scenic artists in the SF Ballet warehouse. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting for a ballet about a visual artist to so involve the work of other visual artists. After the San Francisco Opera moved their scene shop to Burlingame, and American Conservatory Theater closed theirs, SF Ballet now runs the last scene shop in San Francisco, in a cavernous yet unassuming warehouse off Cesar Chavez Street.\u003c/p>\n\u003cp>The Ballet’s scenic artists are committed to their trade — and the responsibilities that come with this role, which involves painting the backdrops, built scenery, furniture and props for several new productions a year, along with maintenance on older productions being revived.\u003c/p>\n\u003cp>“Most of what we use to do this job are things we were able to purchase locally,” Dunn said. “Robert prioritizes that. We really are trying to support local businesses and the arts because we need them, right? And they need us.”\u003c/p>\n\u003cp>For Capron, this commission required releasing her work into a completely foreign process — very different from overseeing studio assistants. “They have so much knowledge already on their own that just the first time I came, I was like, ‘Oh, I feel in great hands,’ you know?” she said. “I don’t even feel like I have to worry in any way.”\u003c/p>\n\u003cp>On April 4, she plans to be in the Opera House audience, seeing her piece from its proper vantage point alongside her family. But as Burg warns, “It’s never going to look bigger to us than it does now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Dos Mujeres’ takes place at the War Memorial Opera House (301 Van Ness Ave., San Francisco) April 4–14. \u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The ballet’s scenic artists translated Maria A. Guzmán Capron’s textile piece into a 30-by-60-foot mural. ","status":"publish","parent":0,"modified":1712001883,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":958},"headData":{"title":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain | KQED","description":"The ballet’s scenic artists translated Maria A. Guzmán Capron’s textile piece into a 30-by-60-foot mural. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When audiences make their way into the War Memorial Opera House for San Francisco Ballet’s \u003ci>\u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Dos Mujeres\u003c/a>\u003c/i>, a double-bill presentation of Arielle Smith’s \u003ci>Carmen\u003c/i> (a world premiere) and Annabelle Lopez Ochoa’s \u003ci>Broken Wings\u003c/i>, they will rest their eyes upon a very different kind of curtain.\u003c/p>\n\u003cp>Instead of gold velvet drapery, they’ll be looking at a 30-by-60-foot mural on canvas, a hand-painted translation of a textile piece created by Oakland artist \u003ca href=\"https://www.instagram.com/mariaguzmancapron/\">Maria A. Guzmán Capron\u003c/a>.\u003c/p>\n\u003cp>Far in advance of opening night — with warehouse space at a premium — SF Ballet’s scenic artists put the finishing touches on the piece, before all 229 pounds of the painting were folded up to await its eventual unveiling on April 4. (Even this is a big to-do, involving scissor-lifts and hours of steaming.)\u003c/p>\n\u003cp>Walking across the painted canvas surface in early February, Capron was thrilled to take in the dense design of trompe-l’oeil patterns and colored stitching. “It is a wild experience because I never get to do that with my work, to feel really immersed by it,” she said. “It makes me feel more part of it in some way, like I am \u003ci>in\u003c/i> it.”\u003c/p>\n\u003cfigure id=\"attachment_13951445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg\" alt=\"Two people talk, one gestures with arms in front of brightly painted large canvas on floor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Capron talks with Charge Scenic Artist Robert Burg in the SF Ballet’s San Francisco scene shop in February 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the way we feel about everything we work on,” agreed Robert Burg, charge scenic artist for SF Ballet. “There’s a very personal connection to the pieces we work on, especially the backdrops we paint.”\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>Burg, along with Scenic Artists David Dunn and Garrett Lowe, translated Capron’s 43-by-48-inch textile piece into mural form, tracing the images out in charcoal on paper, priming the massive stapled-down canvas, then creating stencils and special tools to more accurately capture the depth and texture of the original work.\u003c/p>\n\u003cp>The three men stood over the canvas for about a month, a print-out in one hand and a paintbrush attached to a long stick in the other, rendering cotton, satins and lace at a monumental scale.\u003c/p>\n\u003cp>One specially made tool, a notched foam roller, was the result of weeks of pondering how to get Capron’s stitches just right. “When we came up with the idea, it worked even better than we thought,” Burg said.\u003c/p>\n\u003cfigure id=\"attachment_13954565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg\" alt=\"circular foam roller with notches cut into it traces a dotted line across a painted canvas\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scenic artist demonstrates how a foam roller was used to create the ‘stitching’ in Capron’s mural. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dunn concurred: “It just was such a satisfying kind of way to finish.”\u003c/p>\n\u003cp>(“I always say, nobody ever loved a tool on a stick as much as David,” Burg said.)\u003c/p>\n\u003cp>The mural is a merger of the shop’s classic scenic art techniques and SF Ballet’s new direction under Artistic Director Tamara Rojo. “This is just a fun project for us because it’s a little outside of our usual scope of old architecture,” Burg said, describing their traditional fare as “somebody’s cottage or palace.”\u003c/p>\n\u003cp>“But our company is doing \u003ca href=\"https://www.kqed.org/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton\">a lot of unusual and new stuff these days\u003c/a>, which is wonderful because it’s about keeping the art alive,” he added.\u003c/p>\n\u003cp>Capron was given a video of rehearsals of \u003ci>Carmen\u003c/i>, and footage from previous performances of \u003ci>Broken Wings\u003c/i>. Her figures’ overlapping stance, tangled below and heart-shaped above, comes from \u003ci>Carmen\u003c/i>’s choreography. The swirl of flowers that surrounds them is an homage to the twirling skirts of the dancers in \u003ci>Broken Wings\u003c/i>, a ballet about the life of Frida Kahlo.\u003c/p>\n\u003cfigure id=\"attachment_13951444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg\" alt=\"Print-outs of mural design propped on stand in front of the painted mural\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Print-outs of Capron’s textile collage sit on a table near a large-scale version made by scenic artists in the SF Ballet warehouse. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting for a ballet about a visual artist to so involve the work of other visual artists. After the San Francisco Opera moved their scene shop to Burlingame, and American Conservatory Theater closed theirs, SF Ballet now runs the last scene shop in San Francisco, in a cavernous yet unassuming warehouse off Cesar Chavez Street.\u003c/p>\n\u003cp>The Ballet’s scenic artists are committed to their trade — and the responsibilities that come with this role, which involves painting the backdrops, built scenery, furniture and props for several new productions a year, along with maintenance on older productions being revived.\u003c/p>\n\u003cp>“Most of what we use to do this job are things we were able to purchase locally,” Dunn said. “Robert prioritizes that. We really are trying to support local businesses and the arts because we need them, right? And they need us.”\u003c/p>\n\u003cp>For Capron, this commission required releasing her work into a completely foreign process — very different from overseeing studio assistants. “They have so much knowledge already on their own that just the first time I came, I was like, ‘Oh, I feel in great hands,’ you know?” she said. “I don’t even feel like I have to worry in any way.”\u003c/p>\n\u003cp>On April 4, she plans to be in the Opera House audience, seeing her piece from its proper vantage point alongside her family. But as Burg warns, “It’s never going to look bigger to us than it does now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Dos Mujeres’ takes place at the War Memorial Opera House (301 Van Ness Ave., San Francisco) April 4–14. \u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists","authors":["61"],"categories":["arts_1","arts_966","arts_70"],"tags":["arts_10278","arts_21890"],"featImg":"arts_13951447","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2019/07/commonwealthclub.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/Consider-This_3000_V3-copy-scaled-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://ww2.kqed.org/app/uploads/2022/06/forum-logo-900x900tile-1.gif","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/FreshAir_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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