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He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>[contextly_sidebar id=”3ik7TOVrqXsWjKQIusKcHwbwTrgsmzMN”]\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>[contextly_sidebar id=”5fw6FI0bY4MtW7GPFoCEl2lZCwQAnawT”]\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>[contextly_sidebar id=”KwzzjJ7Jtmp2i0hYJnXW9dl5DLE7LVFY”]\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669482142/669482143\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Man+Making+Art+From+Government+Surveillance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Trevor Paglen thinks about being monitored by things you can't see: secret military bases, tapped cables, spy satellites. So he just sent a work of art into space.","status":"publish","parent":0,"modified":1705026875,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1638},"headData":{"title":"The Man Making Art From Government Surveillance | KQED","description":"Trevor Paglen thinks about being monitored by things you can't see: secret military bases, tapped cables, spy satellites. So he just sent a work of art into space.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Trevor Paglen","nprByline":"Andrew Limbong","nprImageAgency":"Courtesy of Nevada Museum of Art","nprStoryId":"673403822","nprApiLink":"http://api.npr.org/query?id=673403822&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/12/09/673403822/the-man-making-art-from-government-surveillance?ft=nprml&f=673403822","nprRetrievedStory":"1","nprPubDate":"Sun, 09 Dec 2018 05:00:00 -0500","nprStoryDate":"Sun, 09 Dec 2018 05:00:21 -0500","nprLastModifiedDate":"Sun, 09 Dec 2018 05:00:21 -0500","path":"/arts/13847017/the-man-making-art-from-government-surveillance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\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>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669482142/669482143\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Man+Making+Art+From+Government+Surveillance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847017/the-man-making-art-from-government-surveillance","authors":["byline_arts_13847017"],"series":["arts_1259"],"categories":["arts_235","arts_70"],"tags":["arts_6228","arts_596","arts_973","arts_901"],"affiliates":["arts_137"],"featImg":"arts_13847018","label":"arts_137"},"arts_13808739":{"type":"posts","id":"arts_13808739","meta":{"index":"posts_1591205157","site":"arts","id":"13808739","score":null,"sort":[1505919624000]},"guestAuthors":[],"slug":"at-city-limits-sofia-cordova-imagines-life-after-humanity","title":"At City Limits, Sofía Córdova Imagines Life After Humanity","publishDate":1505919624,"format":"standard","headTitle":"At City Limits, Sofía Córdova Imagines Life After Humanity | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>Scientists who wish to highlight the incredible — and largely destructive — impact humans have had on the planet have proposed the term “Anthropocene” for a new geological epoch. This term has been gaining popularity, but epochs come and go, and if humans have brought about the end of the Holocene so quickly, can we be trusted with our own?\u003c/p>\n\u003cp>The answer is, of course, “no,” and \u003ca href=\"http://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sofía Córdova\u003c/a>’s \u003ci>The Gentle Voice That Talks To You Won’t Talk Forever\u003c/i> at Oakland’s \u003ca href=\"http://www.citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Limits Gallery\u003c/a> is a look at what might follow the Anthropocene. The outlook isn’t all that bad, but you might have to be non-human to fully appreciate it.\u003c/p>\n\u003cfigure id=\"attachment_13808766\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg\" alt=\"Sofía Córdova, 'They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),' 2017.\" width=\"3000\" height=\"2000\" class=\"size-full wp-image-13808766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-520x347.jpg 520w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Córdova speculates about a fictitious-yet-likely future in which nature has survived humanity, and though the exhibition doesn’t make the extinction of our young species explicit, it seems like a strong possibility. A three-channel 8mm and digital video lends an air of horror to the exhibition. Two of the flickering black and purple channels record cherry trees in a Seoul park devoid of human figures. Buildings and monuments are sometimes seen through the trees, but the deserted park is eerie. It’s a ghost town in the center of a metropolis. The third channel features the decomposing carcass of a blue whale on a Bolinas beach. Though these scenes are forbidding, they initially clash with the rest of the exhibition.\u003c/p>\n\u003cp>Looking on from the center of the gallery is a pink taxidermied dove perched on a pink rock. The dove rests on a classical column and seems to be holding court. None of the terror and bleakness of the video is present. In fact, whatever changes in the world the video documents seems to have allowed for the dove to reign — for peace to reign. This realization negates the horror in the video; it simply documents a peaceful landscape and the natural process of decay. It’s only from the human perspective that something is wrong; the trees and the birds are fine.\u003c/p>\n\u003cfigure id=\"attachment_13808767\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg\" alt=\"Sofía Córdova, 'Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),' 2017. \" width=\"640\" height=\"959\" class=\"size-large wp-image-13808767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20.jpg 2002w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An inspiration for this exhibition is Miharu Takizakura, a 1,000-year-old cherry tree in Fukushima Prefecture, Japan. The tree survived the region’s 2011 earthquake and nuclear disaster and has become a symbol of resilience. Córdova borrows the pale pink of cherry blossoms for nearly everything in the exhibition, including the overhead lights. This vaguely suggests radioactivity but also playfulness or joy, like a post-apocalyptic Instagram-friendly environment in search of participants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition is presented as an installation, with an ambient soundtrack by Córdova and Matthew Gonzalez Kirkland, shells and artificial coral (all pink, of course), reflective surfaces, a video projection, and hand-painted signs.\u003c/p>\n\u003cp>Many of the works, and especially their titles, refer ambiguously to events and entities, such as “the Psychic Wars” and “the Terror.” One 13-foot-long sign reads “nos comió los dulces” (translated as “she/they ate our candy”); another work is titled \u003ci>All That She Wants\u003c/i>. It is not clear what the history of this future is, or whose sentience is acknowledged in the works. Maybe it’s a sign that human life has survived somewhere, or maybe it merely represents a shift in the kinds of life afforded personhood and pronouns.\u003c/p>\n\u003cp>\u003cem>The Gentle Voice\u003c/em> reads as both a warning and a taunt: The Earth doesn’t need us. But the warning is what’s most urgent. Human-centered thinking should prioritize the preservation of our species and the environments in which we live. But if shortsightedness and instant gratification are central to the human experience, they shape our thinking about the world — hence our current predicaments of potential nuclear war, climate change, drought, deforestation, garbage islands, and artificial earthquakes. Paradoxically, our survival might rely upon our ability to imagine a world without humans and to imagine priorities beyond our own, since ours have proven to be so self-destructive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/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>‘The Gentle Voice That Talks To You Won’t Talk Forever’ is on view at City Limits Gallery in Oakland through Oct. 22, 2017. For more information, \u003ca href=\"http://www.citylimitsgallery.com/the-gentle-voice-that-talks\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The outlook isn't all that bad, but you might have to be non-human to fully appreciate it.","status":"publish","parent":0,"modified":1705029505,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":806},"headData":{"title":"At City Limits, Sofía Córdova Imagines Life After Humanity | KQED","description":"The outlook isn't all that bad, but you might have to be non-human to fully appreciate it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scientists who wish to highlight the incredible — and largely destructive — impact humans have had on the planet have proposed the term “Anthropocene” for a new geological epoch. This term has been gaining popularity, but epochs come and go, and if humans have brought about the end of the Holocene so quickly, can we be trusted with our own?\u003c/p>\n\u003cp>The answer is, of course, “no,” and \u003ca href=\"http://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sofía Córdova\u003c/a>’s \u003ci>The Gentle Voice That Talks To You Won’t Talk Forever\u003c/i> at Oakland’s \u003ca href=\"http://www.citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Limits Gallery\u003c/a> is a look at what might follow the Anthropocene. The outlook isn’t all that bad, but you might have to be non-human to fully appreciate it.\u003c/p>\n\u003cfigure id=\"attachment_13808766\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg\" alt=\"Sofía Córdova, 'They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),' 2017.\" width=\"3000\" height=\"2000\" class=\"size-full wp-image-13808766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_7-520x347.jpg 520w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘They Held Dances on the Graves of Those Who Died In The Terror 22 (Seoul Cherry1), 23 (Seoul Cherry2), 26 (Blue Whale),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Córdova speculates about a fictitious-yet-likely future in which nature has survived humanity, and though the exhibition doesn’t make the extinction of our young species explicit, it seems like a strong possibility. A three-channel 8mm and digital video lends an air of horror to the exhibition. Two of the flickering black and purple channels record cherry trees in a Seoul park devoid of human figures. Buildings and monuments are sometimes seen through the trees, but the deserted park is eerie. It’s a ghost town in the center of a metropolis. The third channel features the decomposing carcass of a blue whale on a Bolinas beach. Though these scenes are forbidding, they initially clash with the rest of the exhibition.\u003c/p>\n\u003cp>Looking on from the center of the gallery is a pink taxidermied dove perched on a pink rock. The dove rests on a classical column and seems to be holding court. None of the terror and bleakness of the video is present. In fact, whatever changes in the world the video documents seems to have allowed for the dove to reign — for peace to reign. This realization negates the horror in the video; it simply documents a peaceful landscape and the natural process of decay. It’s only from the human perspective that something is wrong; the trees and the birds are fine.\u003c/p>\n\u003cfigure id=\"attachment_13808767\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg\" alt=\"Sofía Córdova, 'Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),' 2017. \" width=\"640\" height=\"959\" class=\"size-large wp-image-13808767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/City_Limits_Sofia_Cordova_20.jpg 2002w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova, ‘Dame la mano paloma, para subira tu nido (Give me your hand, dove, so that I may climb into your nest),’ 2017. \u003ccite>(Courtesy the artist and City Limits Gallery; Photo by Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An inspiration for this exhibition is Miharu Takizakura, a 1,000-year-old cherry tree in Fukushima Prefecture, Japan. The tree survived the region’s 2011 earthquake and nuclear disaster and has become a symbol of resilience. Córdova borrows the pale pink of cherry blossoms for nearly everything in the exhibition, including the overhead lights. This vaguely suggests radioactivity but also playfulness or joy, like a post-apocalyptic Instagram-friendly environment in search of participants.\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 exhibition is presented as an installation, with an ambient soundtrack by Córdova and Matthew Gonzalez Kirkland, shells and artificial coral (all pink, of course), reflective surfaces, a video projection, and hand-painted signs.\u003c/p>\n\u003cp>Many of the works, and especially their titles, refer ambiguously to events and entities, such as “the Psychic Wars” and “the Terror.” One 13-foot-long sign reads “nos comió los dulces” (translated as “she/they ate our candy”); another work is titled \u003ci>All That She Wants\u003c/i>. It is not clear what the history of this future is, or whose sentience is acknowledged in the works. Maybe it’s a sign that human life has survived somewhere, or maybe it merely represents a shift in the kinds of life afforded personhood and pronouns.\u003c/p>\n\u003cp>\u003cem>The Gentle Voice\u003c/em> reads as both a warning and a taunt: The Earth doesn’t need us. But the warning is what’s most urgent. Human-centered thinking should prioritize the preservation of our species and the environments in which we live. But if shortsightedness and instant gratification are central to the human experience, they shape our thinking about the world — hence our current predicaments of potential nuclear war, climate change, drought, deforestation, garbage islands, and artificial earthquakes. Paradoxically, our survival might rely upon our ability to imagine a world without humans and to imagine priorities beyond our own, since ours have proven to be so self-destructive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/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>‘The Gentle Voice That Talks To You Won’t Talk Forever’ is on view at City Limits Gallery in Oakland through Oct. 22, 2017. For more information, \u003ca href=\"http://www.citylimitsgallery.com/the-gentle-voice-that-talks\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13808739/at-city-limits-sofia-cordova-imagines-life-after-humanity","authors":["187"],"series":["arts_1259"],"categories":["arts_70"],"tags":["arts_1118","arts_3649","arts_596","arts_769","arts_901"],"featImg":"arts_13809029","label":"arts_1259"},"arts_13804672":{"type":"posts","id":"arts_13804672","meta":{"index":"posts_1591205157","site":"arts","id":"13804672","score":null,"sort":[1502290803000]},"guestAuthors":[],"slug":"two-artists-one-oyster-filled-future-and-the-vast-internet-archive","title":"Two Artists, One Oyster-Filled Future, and the Vast Internet Archive","publishDate":1502290803,"format":"standard","headTitle":"Two Artists, One Oyster-Filled Future, and the Vast Internet Archive | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>Oysters and the internet. \u003ca href=\"http://www.tanjageis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanja Geis\u003c/a> and Christopher Nickel, the inaugural artists of \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Embark Gallery\u003c/a>’s new R&D Projects series, chose vastly different tracks in their research-based partnerships with local nonprofits, the culminations of which are now on view in two concurrent solo exhibitions.\u003c/p>\n\u003cp>For \u003ci>Lurid Ecologies: Ways of Seeing the Bay\u003c/i>, Oakland-based Geis speculates about a re-colonization of the San Francisco Bay by \u003ci>Ostrea lurida\u003c/i>. A bit of background: \u003ci>Ostrea lurida\u003c/i>, also known as the Olympia oyster, was a common food source in the Bay Area for thousands of years. Today, local populations are critically low. The culprits? Take your pick: over-harvesting, pollution, hydraulic mining runoff, and invasive species have all been blamed for wreaking havoc on the oyster, which filters nitrogen from water and creates important habitats for other aquatic life.\u003c/p>\n\u003cp>Geis’ imagined future may not be far off — several state and federal organizations are piloting \u003ci>Ostrea lurida\u003c/i> restoration, which has the potential to contribute to sea level resiliency and pollution mitigation. In fact, Geis collaborated with one of these organizations, the Smithsonian Environmental Research Center (SERC), to produce the work in \u003ci>Lurid Ecologies\u003c/i>.\u003c/p>\n\u003cp>On view are a series of large paintings of imagined \u003ci>Ostrea lurida\u003c/i> colonies. Painted on paper with mud from the San Francisco Bay, these works create a referential loop: material taken from the Bay creates a vision of a more sustainable Bay. The intricate paintings act like aquatic Rorschach tests — many seem almost anthropomorphic, with faces emerging from the varied substrates. The complexity of the paintings evidences Geis’ commitment to both fine art and the welfare of the marine environment (she holds both an MFA and a graduate degree in coastal and marine management).\u003c/p>\n\u003cfigure id=\"attachment_13804676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg\" alt=\"Tanja Geis, 'Life in the Greenhouse,' 2017.\" width=\"1920\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-160x30.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-800x150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-768x144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1020x191.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1180x221.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-960x180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-240x45.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-375x70.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-520x98.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Life in the Greenhouse,’ 2017. \u003ccite>(Courtesy the artist and Embark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the exhibition is \u003ci>Life in the Greenhouse\u003c/i>, a three-channel video filmed in the research tanks at the \u003ca href=\"http://rtc.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Romberg Tiburon Center for Environmental Studies\u003c/a>. The video’s connection to \u003ci>Ostrea lurida\u003c/i> is less apparent, but unlike some of Geis’ other, more ethereal videos, this one is more straightforward, maybe even scientific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On one channel, the camera lingers on lace-like organisms or materials. On another, tiny creatures seem to battle or mate with one another. And the third channel spends eight minutes exploring brilliant, chlorophyll-filled plants. The result is almost a narrative — just poetic enough to evade easy categorization.\u003c/p>\n\u003cp>Sharing the gallery with \u003ci>Lurid Ecologies\u003c/i> is \u003ca href=\"http://www.christopher-nickel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Nickel\u003c/a>’s \u003ci>A Few Select Bits of Knowledge: A Visual Archive\u003c/i>, another R&D Projects enterprise. Nickel’s work draws from his exploration of the \u003ca href=\"https://archive.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, an online collection of free books, audio, video, software, websites and more. On display at Embark Gallery are five large collages, each made from dozens of images culled from the archive’s wide-ranging database.\u003c/p>\n\u003cfigure id=\"attachment_13804678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nickel, ‘Understanding Whole Systems,’ 2017. \u003cem>(\u003c/em>\u003ci>Courtesy the artist and Embark Gallery, San Francisco)\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nickel’s images at first appear randomly grouped: David Bowie as Ziggy Stardust, a Swiss Army knife, a handheld vacuum. But his work engages with systems, particularly in regards to communication, and this becomes evident when reviewing the works’ titles. Bowie, the knife, and vacuum appear in \u003ci>Nomadics\u003c/i>. \u003ci>Communications\u003c/i> includes images of the Jackson 5, a woman wearing a virtual reality headset, a MIDI keyboard, and Voyager’s Golden Record.\u003c/p>\n\u003cp>These constellations of images conjure connections between the different objects and concepts — and, most importantly — across time. Like Geis’ \u003ci>Life in the Greenhouse\u003c/i>, this work doesn’t lead to direct conclusions, only vague suggestions.\u003c/p>\n\u003cp>If Nickel’s collages are inventories of visual representations of specific systems or concepts, I’m left wondering, “Why these images?” Is this how the Internet Archive best represents these specific systems? Are Nickel’s collages microcosms of the Voyager records, picturing how we picture ourselves?\u003c/p>\n\u003cp>For both Geis and Nickel, the results of their research-intensive projects hint at their processes while avoiding an overly didactic approach. At times this left me wanting more — I craved a deeper window into the artists’ research. But unburdened by explanatory text, the works are afforded the freedom to guide viewers down numerous paths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/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>‘Lurid Ecologies: Ways of Seeing the Bay’ and ‘A Few Select Bits of Knowledge: A Visual Archive’ are on view at San Francisco’s Embark Gallery through Aug. 18, 2017. For more information, \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Artists Tanja Geis and Christopher Nickel create research-intensive collaborations with local nonprofits at Embark Gallery.","status":"publish","parent":0,"modified":1705029820,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":766},"headData":{"title":"Two Artists, One Oyster-Filled Future, and the Vast Internet Archive | KQED","description":"Artists Tanja Geis and Christopher Nickel create research-intensive collaborations with local nonprofits at Embark Gallery.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13804672/two-artists-one-oyster-filled-future-and-the-vast-internet-archive","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oysters and the internet. \u003ca href=\"http://www.tanjageis.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanja Geis\u003c/a> and Christopher Nickel, the inaugural artists of \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Embark Gallery\u003c/a>’s new R&D Projects series, chose vastly different tracks in their research-based partnerships with local nonprofits, the culminations of which are now on view in two concurrent solo exhibitions.\u003c/p>\n\u003cp>For \u003ci>Lurid Ecologies: Ways of Seeing the Bay\u003c/i>, Oakland-based Geis speculates about a re-colonization of the San Francisco Bay by \u003ci>Ostrea lurida\u003c/i>. A bit of background: \u003ci>Ostrea lurida\u003c/i>, also known as the Olympia oyster, was a common food source in the Bay Area for thousands of years. Today, local populations are critically low. The culprits? Take your pick: over-harvesting, pollution, hydraulic mining runoff, and invasive species have all been blamed for wreaking havoc on the oyster, which filters nitrogen from water and creates important habitats for other aquatic life.\u003c/p>\n\u003cp>Geis’ imagined future may not be far off — several state and federal organizations are piloting \u003ci>Ostrea lurida\u003c/i> restoration, which has the potential to contribute to sea level resiliency and pollution mitigation. In fact, Geis collaborated with one of these organizations, the Smithsonian Environmental Research Center (SERC), to produce the work in \u003ci>Lurid Ecologies\u003c/i>.\u003c/p>\n\u003cp>On view are a series of large paintings of imagined \u003ci>Ostrea lurida\u003c/i> colonies. Painted on paper with mud from the San Francisco Bay, these works create a referential loop: material taken from the Bay creates a vision of a more sustainable Bay. The intricate paintings act like aquatic Rorschach tests — many seem almost anthropomorphic, with faces emerging from the varied substrates. The complexity of the paintings evidences Geis’ commitment to both fine art and the welfare of the marine environment (she holds both an MFA and a graduate degree in coastal and marine management).\u003c/p>\n\u003cfigure id=\"attachment_13804676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg\" alt=\"Tanja Geis, 'Life in the Greenhouse,' 2017.\" width=\"1920\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-160x30.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-800x150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-768x144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1020x191.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-1180x221.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-960x180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-240x45.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-375x70.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Tanja-Geis-Life-in-the-Greenhouse-520x98.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Life in the Greenhouse,’ 2017. \u003ccite>(Courtesy the artist and Embark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the exhibition is \u003ci>Life in the Greenhouse\u003c/i>, a three-channel video filmed in the research tanks at the \u003ca href=\"http://rtc.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Romberg Tiburon Center for Environmental Studies\u003c/a>. The video’s connection to \u003ci>Ostrea lurida\u003c/i> is less apparent, but unlike some of Geis’ other, more ethereal videos, this one is more straightforward, maybe even scientific.\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>On one channel, the camera lingers on lace-like organisms or materials. On another, tiny creatures seem to battle or mate with one another. And the third channel spends eight minutes exploring brilliant, chlorophyll-filled plants. The result is almost a narrative — just poetic enough to evade easy categorization.\u003c/p>\n\u003cp>Sharing the gallery with \u003ci>Lurid Ecologies\u003c/i> is \u003ca href=\"http://www.christopher-nickel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Nickel\u003c/a>’s \u003ci>A Few Select Bits of Knowledge: A Visual Archive\u003c/i>, another R&D Projects enterprise. Nickel’s work draws from his exploration of the \u003ca href=\"https://archive.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, an online collection of free books, audio, video, software, websites and more. On display at Embark Gallery are five large collages, each made from dozens of images culled from the archive’s wide-ranging database.\u003c/p>\n\u003cfigure id=\"attachment_13804678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Christopher-Nickel-Understanding-Whole-Systems.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nickel, ‘Understanding Whole Systems,’ 2017. \u003cem>(\u003c/em>\u003ci>Courtesy the artist and Embark Gallery, San Francisco)\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nickel’s images at first appear randomly grouped: David Bowie as Ziggy Stardust, a Swiss Army knife, a handheld vacuum. But his work engages with systems, particularly in regards to communication, and this becomes evident when reviewing the works’ titles. Bowie, the knife, and vacuum appear in \u003ci>Nomadics\u003c/i>. \u003ci>Communications\u003c/i> includes images of the Jackson 5, a woman wearing a virtual reality headset, a MIDI keyboard, and Voyager’s Golden Record.\u003c/p>\n\u003cp>These constellations of images conjure connections between the different objects and concepts — and, most importantly — across time. Like Geis’ \u003ci>Life in the Greenhouse\u003c/i>, this work doesn’t lead to direct conclusions, only vague suggestions.\u003c/p>\n\u003cp>If Nickel’s collages are inventories of visual representations of specific systems or concepts, I’m left wondering, “Why these images?” Is this how the Internet Archive best represents these specific systems? Are Nickel’s collages microcosms of the Voyager records, picturing how we picture ourselves?\u003c/p>\n\u003cp>For both Geis and Nickel, the results of their research-intensive projects hint at their processes while avoiding an overly didactic approach. At times this left me wanting more — I craved a deeper window into the artists’ research. But unburdened by explanatory text, the works are afforded the freedom to guide viewers down numerous paths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/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>‘Lurid Ecologies: Ways of Seeing the Bay’ and ‘A Few Select Bits of Knowledge: A Visual Archive’ are on view at San Francisco’s Embark Gallery through Aug. 18, 2017. For more information, \u003ca href=\"http://www.embarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13804672/two-artists-one-oyster-filled-future-and-the-vast-internet-archive","authors":["187"],"series":["arts_1259"],"categories":["arts_70"],"tags":["arts_820","arts_1118","arts_596","arts_769","arts_973"],"featImg":"arts_13804826","label":"arts_1259"},"arts_13781928":{"type":"posts","id":"arts_13781928","meta":{"index":"posts_1591205157","site":"arts","id":"13781928","score":null,"sort":[1501786845000]},"guestAuthors":[],"slug":"high-stakes-al-gore-inconvenient-sequel-make-documentary-drama","title":"High Stakes of Al Gore’s ‘Inconvenient Sequel’ Make for Documentary Drama","publishDate":1501786845,"format":"standard","headTitle":"High Stakes of Al Gore’s ‘Inconvenient Sequel’ Make for Documentary Drama | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>Eleven short years ago, multiplexes from coast to coast faced an unprecedented crisis: Moviegoers by the hundreds, moved to concrete action by \u003cem>An Inconvenient Truth\u003c/em>, had tossed their car keys into the first garbage can they saw and walked home.\u003c/p>\n\u003cp>Surely you remember Al Gore’s big screen-enhanced PowerPoint presentation about the threat of global warming. And you don’t recall the parking garages full of abandoned automobiles?\u003c/p>\n\u003cp>[contextly_sidebar id=”vkF5BjTVpQfKK27HermG9pXE3JzTLPYy”]\u003c/p>\n\u003cp>This version of history never happened, of course. And that’s my point: What is a reasonable expectation for a social-issue documentary? Can a movie actually make a quantifiable difference, no matter how impassioned and persuasive it is?\u003c/p>\n\u003cp>It’s the question of the moment because the man who devoted his life to circumnavigating the globe rallying people to his — well, humankind’s — cause (after the Supreme Court handed the Oval Office to his Republican opponent in 2000) is back in local multiplexes this Friday with \u003cem>An Inconvenient Sequel: Truth to Power\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/huX1bmfdkyA\u003c/p>\n\u003cp>“We feel like stories are capable of making change, [though] we have to be realistic of what that change looks like,” says San Francisco filmmaker Bonni Cohen (\u003cem>The Rape of Europa\u003c/em>), who co-directed \u003cem>An Inconvenient Sequel\u003c/em> with husband Jon Shenk (\u003cem>The Island President\u003c/em>). “Changing [the viewer’s] behavior, [or] looking at someone or something through a lens they might not have looked at before. Is that substantive? It’s a philosophical question every filmmaker has to ask themselves.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em>, like almost every environmental documentary — a genre, incidentally, that didn’t exist 11 years ago — aims for the sweet spot of galvanizing the viewer with the utter seriousness of the problem without reaching a tipping point of stunned hopelessness. Cohen, Shenk and Gore are extremely skilled at keeping hope alive, offering workable solutions and courses of action to head off the apocalypse. The “story” part revolves around Gore’s ceaseless educational tour, culminating with his on-the-ground (and on-the-phone) contributions to the Paris climate accord.\u003c/p>\n\u003cfigure id=\"attachment_13796551\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg\" alt=\"Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>”I think Al’s position is we’re dumping way too much pollution into the atmosphere. Every day he gets up to end the climate crisis and move the world toward more sustainable practice,” Shenk says. ”We saw that as film drama. I think Al sees it more as an activist lens. It was our job to try to figure out how to make Al’s day-to-day work into a film drama. We grew up on documentaries and features that had heroes that were up against ticking time bombs and we saw that film this way.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em> creates the illusion of a verité doc via uncommon access to Gore’s hectic travels, interactions with his staff and random encounters with everyday folks. It doesn’t hurt the film that he’s a celebrity, and people can’t resist asking for selfies with celebrities. Everyone is aware of the cause that he’s known for, and sometimes his cause has become their cause.\u003c/p>\n\u003cfigure id=\"attachment_13796545\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png\" alt=\"Audience attending Al Gore's updated presentation in Houston, TX.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1180x787.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-960x641.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-375x250.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-520x347.png 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Audience attending Al Gore’s updated presentation in Houston, TX. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the underlying basis for the scenes in which Gore speaks to groups of trainees in various countries. While these presentations serve to supply context and information to viewers of \u003cem>An Inconvenient Sequel\u003c/em>, they exist to equip highly motivated individuals with the tools to expand the environmental movement — philosophically, practically and politically — in their own communities. Al Gore may have superhuman stamina, but he isn’t Superman: He can’t be everywhere at once.\u003c/p>\n\u003cp>It’s a measure of Shenk and Cohen’s skill that they successfully camouflage and cloak what is undeniably and unequivocally, from start to finish, an advocacy film, in the globetrotting guise of a man-on-a-mission saga. The deception, which is part and parcel of the entertainment value of \u003cem>An Inconvenient Sequel\u003c/em>, is key to attracting environmental agnostics and many other paying moviegoers. Those already on board with the movement and the message will be just fine with the movie’s concluding call to action.\u003c/p>\n\u003cfigure id=\"attachment_13796544\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg\" alt=\"Smokestacks in India in 'An Inconvenient Sequel: Truth to Power.'\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13796544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Smokestacks in India in ‘An Inconvenient Sequel: Truth to Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shenk says, “One thing Bonnie and I noticed over the years of making films that touch on social issues is audiences ask, ‘What can we do? How can we get involved? What do we do with this energy?’” Cohen confirms, “We regularly met people who had seen \u003ci>An Inconvenient Truth\u003c/i> and made the decision to change their lives, and work toward a better world in the climate space – as activists, or running alternative energy companies, or politicians.”\u003c/p>\n\u003cp>The dominant good-news takeaway from \u003cem>An Inconvenient Sequel\u003c/em> is that solar power is replacing fossil fuels at a faster rate than even most optimists projected a decade ago. Gore loves to tout technology as the answer to the problem, as advances in solar engineering and efficiency drive down the price and make the equipment more widely available.\u003c/p>\n\u003cfigure id=\"attachment_13796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg\" alt=\"Al Gore and director Jon Shenk in 'An Inconvenient Sequel: Truth To Power.'\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13796552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-520x390.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore and director Jon Shenk in ‘An Inconvenient Sequel: Truth To Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It may amuse you, while you’re watching \u003cem>An Inconvenient Sequel\u003c/em>, to observe Gore’s parallel embrace of improved technology to deliver his message in person. The static graphs that dominated his PowerPoint presentations in An Inconvenient Truth have been replaced by fluid graphs and embedded video clips.\u003c/p>\n\u003cp>It’s kind of impressive, actually, how uncompromising Gore is about communicating the most current facts and realities of global warming in the best available way. Of course, the stakes are rather high, no matter how modest the goals Cohen and Shenk set for their film.\u003c/p>\n\u003cp>“If we can change hearts and minds on this issue in an incremental way, I feel we’ve succeeded,” Cohen says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘An Inconvenient Sequel: Truth to Power’ opens in Bay Area theaters Friday, Aug. 4. For more information, \u003ca href=\"https://inconvenientsequel.tumblr.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"What's a reasonable expectation for a social-issue documentary? S.F. filmmakers Jon Shenk and Bonnie Cohen hope Al Gore's mission will change hearts and minds.","status":"publish","parent":0,"modified":1705029851,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1463},"headData":{"title":"High Stakes of Al Gore’s ‘Inconvenient Sequel’ Make for Documentary Drama | KQED","description":"What's a reasonable expectation for a social-issue documentary? S.F. filmmakers Jon Shenk and Bonnie Cohen hope Al Gore's mission will change hearts and minds.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13781928/high-stakes-al-gore-inconvenient-sequel-make-documentary-drama","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleven short years ago, multiplexes from coast to coast faced an unprecedented crisis: Moviegoers by the hundreds, moved to concrete action by \u003cem>An Inconvenient Truth\u003c/em>, had tossed their car keys into the first garbage can they saw and walked home.\u003c/p>\n\u003cp>Surely you remember Al Gore’s big screen-enhanced PowerPoint presentation about the threat of global warming. And you don’t recall the parking garages full of abandoned automobiles?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This version of history never happened, of course. And that’s my point: What is a reasonable expectation for a social-issue documentary? Can a movie actually make a quantifiable difference, no matter how impassioned and persuasive it is?\u003c/p>\n\u003cp>It’s the question of the moment because the man who devoted his life to circumnavigating the globe rallying people to his — well, humankind’s — cause (after the Supreme Court handed the Oval Office to his Republican opponent in 2000) is back in local multiplexes this Friday with \u003cem>An Inconvenient Sequel: Truth to Power\u003c/em>.\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>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/huX1bmfdkyA'\n title='//www.youtube.com/embed/huX1bmfdkyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We feel like stories are capable of making change, [though] we have to be realistic of what that change looks like,” says San Francisco filmmaker Bonni Cohen (\u003cem>The Rape of Europa\u003c/em>), who co-directed \u003cem>An Inconvenient Sequel\u003c/em> with husband Jon Shenk (\u003cem>The Island President\u003c/em>). “Changing [the viewer’s] behavior, [or] looking at someone or something through a lens they might not have looked at before. Is that substantive? It’s a philosophical question every filmmaker has to ask themselves.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em>, like almost every environmental documentary — a genre, incidentally, that didn’t exist 11 years ago — aims for the sweet spot of galvanizing the viewer with the utter seriousness of the problem without reaching a tipping point of stunned hopelessness. Cohen, Shenk and Gore are extremely skilled at keeping hope alive, offering workable solutions and courses of action to head off the apocalypse. The “story” part revolves around Gore’s ceaseless educational tour, culminating with his on-the-ground (and on-the-phone) contributions to the Paris climate accord.\u003c/p>\n\u003cfigure id=\"attachment_13796551\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg\" alt=\"Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>”I think Al’s position is we’re dumping way too much pollution into the atmosphere. Every day he gets up to end the climate crisis and move the world toward more sustainable practice,” Shenk says. ”We saw that as film drama. I think Al sees it more as an activist lens. It was our job to try to figure out how to make Al’s day-to-day work into a film drama. We grew up on documentaries and features that had heroes that were up against ticking time bombs and we saw that film this way.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em> creates the illusion of a verité doc via uncommon access to Gore’s hectic travels, interactions with his staff and random encounters with everyday folks. It doesn’t hurt the film that he’s a celebrity, and people can’t resist asking for selfies with celebrities. Everyone is aware of the cause that he’s known for, and sometimes his cause has become their cause.\u003c/p>\n\u003cfigure id=\"attachment_13796545\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png\" alt=\"Audience attending Al Gore's updated presentation in Houston, TX.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1180x787.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-960x641.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-375x250.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-520x347.png 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Audience attending Al Gore’s updated presentation in Houston, TX. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the underlying basis for the scenes in which Gore speaks to groups of trainees in various countries. While these presentations serve to supply context and information to viewers of \u003cem>An Inconvenient Sequel\u003c/em>, they exist to equip highly motivated individuals with the tools to expand the environmental movement — philosophically, practically and politically — in their own communities. Al Gore may have superhuman stamina, but he isn’t Superman: He can’t be everywhere at once.\u003c/p>\n\u003cp>It’s a measure of Shenk and Cohen’s skill that they successfully camouflage and cloak what is undeniably and unequivocally, from start to finish, an advocacy film, in the globetrotting guise of a man-on-a-mission saga. The deception, which is part and parcel of the entertainment value of \u003cem>An Inconvenient Sequel\u003c/em>, is key to attracting environmental agnostics and many other paying moviegoers. Those already on board with the movement and the message will be just fine with the movie’s concluding call to action.\u003c/p>\n\u003cfigure id=\"attachment_13796544\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg\" alt=\"Smokestacks in India in 'An Inconvenient Sequel: Truth to Power.'\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13796544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Smokestacks in India in ‘An Inconvenient Sequel: Truth to Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shenk says, “One thing Bonnie and I noticed over the years of making films that touch on social issues is audiences ask, ‘What can we do? How can we get involved? What do we do with this energy?’” Cohen confirms, “We regularly met people who had seen \u003ci>An Inconvenient Truth\u003c/i> and made the decision to change their lives, and work toward a better world in the climate space – as activists, or running alternative energy companies, or politicians.”\u003c/p>\n\u003cp>The dominant good-news takeaway from \u003cem>An Inconvenient Sequel\u003c/em> is that solar power is replacing fossil fuels at a faster rate than even most optimists projected a decade ago. Gore loves to tout technology as the answer to the problem, as advances in solar engineering and efficiency drive down the price and make the equipment more widely available.\u003c/p>\n\u003cfigure id=\"attachment_13796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg\" alt=\"Al Gore and director Jon Shenk in 'An Inconvenient Sequel: Truth To Power.'\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13796552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-520x390.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore and director Jon Shenk in ‘An Inconvenient Sequel: Truth To Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It may amuse you, while you’re watching \u003cem>An Inconvenient Sequel\u003c/em>, to observe Gore’s parallel embrace of improved technology to deliver his message in person. The static graphs that dominated his PowerPoint presentations in An Inconvenient Truth have been replaced by fluid graphs and embedded video clips.\u003c/p>\n\u003cp>It’s kind of impressive, actually, how uncompromising Gore is about communicating the most current facts and realities of global warming in the best available way. Of course, the stakes are rather high, no matter how modest the goals Cohen and Shenk set for their film.\u003c/p>\n\u003cp>“If we can change hearts and minds on this issue in an incremental way, I feel we’ve succeeded,” Cohen says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘An Inconvenient Sequel: Truth to Power’ opens in Bay Area theaters Friday, Aug. 4. For more information, \u003ca href=\"https://inconvenientsequel.tumblr.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13781928/high-stakes-al-gore-inconvenient-sequel-make-documentary-drama","authors":["22"],"series":["arts_1259"],"categories":["arts_74"],"tags":["arts_1407","arts_1118","arts_596","arts_769"],"featImg":"arts_13796550","label":"arts_1259"},"arts_13234722":{"type":"posts","id":"arts_13234722","meta":{"index":"posts_1591205157","site":"arts","id":"13234722","score":null,"sort":[1494892838000]},"guestAuthors":[],"slug":"standing-rock-the-hot-talk-at-this-years-stanford-powwow","title":"Standing Rock the Hot Talk at this Year's Stanford Powwow","publishDate":1494892838,"format":"audio","headTitle":"Standing Rock the Hot Talk at this Year’s Stanford Powwow | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>For nearly 50 years, the annual \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow\u003c/a> has drawn tens of thousands of Native Americans from all over the continent to the university. It’s the largest student-run powwow in the country and one of the largest cultural gatherings of Native American peoples on the west coast, according to the \u003ca href=\"http://stanford.edu/group/saio/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford American Indian Organization\u003c/a> and the \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow Planning Committee\u003c/a>, which organizes the event.\u003c/p>\n\u003cp>People of all tribal backgrounds, as well as curious and admiring onlookers, come to dance, pray, eat, and reconnect with friends. This year, they also came to talk politics: Stanford Powwow organizers established a theme for the event — “Water is Life” — with a nod to the people who protested the Dakota Access Pipeline at Standing Rock.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Rf_feMN9FgE&w=560&h=315]\u003c/p>\n\u003cp>On Sunday, the organizers awarded special honors to these “Water Protectors,” who got to take their own turn around the circle at Stanford’s Eucalyptus Grove as an appreciative crowd applauded.\u003c/p>\n\u003cp>“Just because things didn’t turn out how we wanted to, you know, up in the \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=4dYFs07Lc_8kAG_Uov0_eRGA3CyM83Ps5JnxRwWJW1g2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fdakotas%2f\">Dakotas\u003c/a>, doesn’t mean that it’s over,” said Emma Robbins, a \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=Y05s-4VstPw3EKC-wtz7eDu6IPn1m4iFmCHBOux1k0w2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fnavajo%2f\">Navajo\u003c/a> tribe member from Los Angeles. “The fight is everywhere.” At the powwow, she wore a T-shirt she screen printed herself with the slogan “Standing Rock is Everywhere.”\u003c/p>\n\u003cfigure id=\"attachment_13235756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg\" alt='Emma Robbins is a Navajo tribe member from Los Angeles. \"This new, vibrant, indigenous-led movement - that was probably one of the most important things that came out of Standing Rock,\" she says.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Robbins is a Navajo tribe member from Los Angeles. “This new, vibrant, indigenous-led movement – that was probably one of the most important things that came out of Standing Rock,” she says. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbins said people still don’t yet know where the fight is going next. “It’s taking a couple of months, and maybe even years, to digest what happened, and how to move forward,” Robbins said. “You know, obviously, with the new administration, things aren’t as easy, so it’s sort of going back to the drawing board and figuring that out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Robbins attended the powwow as a representative of \u003ca href=\"http://digdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dig Deep\u003c/a>, a non-profit that is fighting for clean drinking water as a human right.\u003c/p>\n\u003cp>Dan Nanamkin of the Nez Pearce and Colville tribes from Washington State is engaged in the same struggle. \u003cstrong>“\u003c/strong>It’s everybody’s fight, because we all depend on clean drinking water to sustain our life,” Nanamkin said.\u003c/p>\n\u003cfigure id=\"attachment_13236330\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13236330 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg\" alt=\"There's Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM.jpg 1918w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.google.com/search?site=&tbm=isch&source=hp&biw=1366&bih=589&q=dan+nanamkin+&oq=dan+nanamkin+&gs_l=img.3...880.3605.0.3950.3.3.0.0.0.0.118.234.0j2.2.0....0...1.1.64.img..1.0.0.0.ZCfVVrHhLRU#imgrc=CL8OEXlVRIw6dM:\" target=\"_blank\" rel=\"noopener noreferrer\">Photographs\u003c/a> in the media of Nanamkin standing in full tribal regalia in front of police officers in riot gear were some of the most iconic from the months of protest at Standing Rock.\u003c/p>\n\u003cp>Although the protests didn’t prevent the pipeline from going ahead, Nanamkin said they galvanized Native Americans to continue the fight. “Standing Rock has only started,” Nanamkin said. “That fire, you know, it’s spread throughout the country and it’s woken a lot of us up!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/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\n","blocks":[],"excerpt":"After the Dakota Access Pipeline protests, Native American activists gathering at the Stanford Powwow talked about what's next.","status":"publish","parent":0,"modified":1705030649,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":540},"headData":{"title":"Standing Rock the Hot Talk at this Year's Stanford Powwow | KQED","description":"After the Dakota Access Pipeline protests, Native American activists gathering at the Stanford Powwow talked about what's next.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"http://www.kqed.org/.stream/anon/radio/RDnews/2017/05/StanfordPowwow170515mixdown.mp3","sticky":false,"path":"/arts/13234722/standing-rock-the-hot-talk-at-this-years-stanford-powwow","audioDuration":134000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly 50 years, the annual \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow\u003c/a> has drawn tens of thousands of Native Americans from all over the continent to the university. It’s the largest student-run powwow in the country and one of the largest cultural gatherings of Native American peoples on the west coast, according to the \u003ca href=\"http://stanford.edu/group/saio/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford American Indian Organization\u003c/a> and the \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow Planning Committee\u003c/a>, which organizes the event.\u003c/p>\n\u003cp>People of all tribal backgrounds, as well as curious and admiring onlookers, come to dance, pray, eat, and reconnect with friends. This year, they also came to talk politics: Stanford Powwow organizers established a theme for the event — “Water is Life” — with a nod to the people who protested the Dakota Access Pipeline at Standing Rock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Rf_feMN9FgE'\n title='//www.youtube.com/embed/Rf_feMN9FgE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Sunday, the organizers awarded special honors to these “Water Protectors,” who got to take their own turn around the circle at Stanford’s Eucalyptus Grove as an appreciative crowd applauded.\u003c/p>\n\u003cp>“Just because things didn’t turn out how we wanted to, you know, up in the \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=4dYFs07Lc_8kAG_Uov0_eRGA3CyM83Ps5JnxRwWJW1g2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fdakotas%2f\">Dakotas\u003c/a>, doesn’t mean that it’s over,” said Emma Robbins, a \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=Y05s-4VstPw3EKC-wtz7eDu6IPn1m4iFmCHBOux1k0w2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fnavajo%2f\">Navajo\u003c/a> tribe member from Los Angeles. “The fight is everywhere.” At the powwow, she wore a T-shirt she screen printed herself with the slogan “Standing Rock is Everywhere.”\u003c/p>\n\u003cfigure id=\"attachment_13235756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg\" alt='Emma Robbins is a Navajo tribe member from Los Angeles. \"This new, vibrant, indigenous-led movement - that was probably one of the most important things that came out of Standing Rock,\" she says.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Robbins is a Navajo tribe member from Los Angeles. “This new, vibrant, indigenous-led movement – that was probably one of the most important things that came out of Standing Rock,” she says. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbins said people still don’t yet know where the fight is going next. “It’s taking a couple of months, and maybe even years, to digest what happened, and how to move forward,” Robbins said. “You know, obviously, with the new administration, things aren’t as easy, so it’s sort of going back to the drawing board and figuring that out.”\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>Robbins attended the powwow as a representative of \u003ca href=\"http://digdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dig Deep\u003c/a>, a non-profit that is fighting for clean drinking water as a human right.\u003c/p>\n\u003cp>Dan Nanamkin of the Nez Pearce and Colville tribes from Washington State is engaged in the same struggle. \u003cstrong>“\u003c/strong>It’s everybody’s fight, because we all depend on clean drinking water to sustain our life,” Nanamkin said.\u003c/p>\n\u003cfigure id=\"attachment_13236330\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13236330 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg\" alt=\"There's Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM.jpg 1918w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.google.com/search?site=&tbm=isch&source=hp&biw=1366&bih=589&q=dan+nanamkin+&oq=dan+nanamkin+&gs_l=img.3...880.3605.0.3950.3.3.0.0.0.0.118.234.0j2.2.0....0...1.1.64.img..1.0.0.0.ZCfVVrHhLRU#imgrc=CL8OEXlVRIw6dM:\" target=\"_blank\" rel=\"noopener noreferrer\">Photographs\u003c/a> in the media of Nanamkin standing in full tribal regalia in front of police officers in riot gear were some of the most iconic from the months of protest at Standing Rock.\u003c/p>\n\u003cp>Although the protests didn’t prevent the pipeline from going ahead, Nanamkin said they galvanized Native Americans to continue the fight. “Standing Rock has only started,” Nanamkin said. “That fire, you know, it’s spread throughout the country and it’s woken a lot of us up!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13234722/standing-rock-the-hot-talk-at-this-years-stanford-powwow","authors":["251"],"series":["arts_1259"],"categories":["arts_835","arts_235"],"tags":["arts_1037","arts_1119","arts_1118","arts_596"],"featImg":"arts_13236332","label":"arts_1259"},"arts_13130991":{"type":"posts","id":"arts_13130991","meta":{"index":"posts_1591205157","site":"arts","id":"13130991","score":null,"sort":[1493557224000]},"guestAuthors":[],"slug":"climate-march-marks-trumps-100th-day-with-oakland-protest-photos","title":"Climate March Marks Trump's 100th Day With Oakland Protest: Photos","publishDate":1493557224,"format":"image","headTitle":"Climate March Marks Trump’s 100th Day With Oakland Protest: Photos | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>“There are no jobs on a dead planet.” “Make the earth cool again.” “I need ice, ice, baby.” \u003c/p>\n\u003cp>As Bay Area comedian Margo Gomez and spoken-word artist Jevon Cochran took turns reading handmade signs from a bicycle-powered stage, hundreds of people danced, rallied and marched Saturday, choosing to spend a beautiful afternoon at Lake Merritt urging a fight against climate change.\u003c/p>\n\u003cp>On April 29, which marked the end of the first 100 days of the Trump administration, the rally featured talks from local artists, dozens of booths with information on sustainable living and live music from LoCura and Rupa & the April Fishes.\u003c/p>\n\u003cfigure id=\"attachment_13131277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg\" alt=\"Rupa & the April Fishes perform at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa & the April Fishes perform at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gomez and Cochran urged the crowd to get more involved with their local community to push for action — and Cochran decided to lead by example, taking $5 out of his pocket and donating it to the Bay Area People’s Climate Movement.\u003c/p>\n\u003cp>The grassy area in front of the Lake Merritt Amphitheater teemed with a diverse mix of people: young children, parents, college students and veteran activists. Oakland’s was one of more than 250 sister marches supporting the People’s Climate March in Washington, D.C., and police estimated total attendance at 2,500. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among those were groups of environmental activists choreographing a dance to a “Soil” version of Lorde’s “Royals,” a mother-daughter duo biking to power the stage, groups of people meditating on the grass and even a few dressed as polar bears. \u003c/p>\n\u003cfigure id=\"attachment_13131269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg\" alt=\"Event MCs Marga Gomez and Jevon Cocharan at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event MCs Marga Gomez and Jevon Cocharan at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true sustainable fashion, the stage was powered by Rock The Bike, a pedal-power concert and activities company owned by Paul Freedman. “I think people need to feel inspired by teamwork and personal action,” Freedman said. “We can’t wait for Teslas, solar panels and wind turbines to fix it, and we certainly can’t wait for politicians to fix it.”\u003c/p>\n\u003cp>Event coordinator Louise Chegwidden also said she hoped to inspire others. “The people who least contribute to greenhouse gasses are the first to be impacted by the ravages of climate change and that’s not right,” Chegwidden says. “I have a 14-year-old son, I breathe air, I drink water, I’m human and I’m part of the biosphere that we share with all other life — and we are the ones who are ruining the show for everybody. So we’re the ones who need to clean it up.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below. (All photos by Estefany Gonzalez.)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13131278,13131265,13131272,13131267,13131275,13131266,13131273,13131268,13131270,13131264,13131271,13131276,13131274,13134190,13134189,13134188,13134187\"]\u003c/p>\n\n","blocks":[],"excerpt":"Saturday's climate march and rally drew 2,500 people to Lake Merritt. ","status":"publish","parent":0,"modified":1705030797,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":499},"headData":{"title":"Climate March Marks Trump's 100th Day With Oakland Protest: Photos | KQED","description":"Saturday's climate march and rally drew 2,500 people to Lake Merritt. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Estefany Gonzalez","path":"/arts/13130991/climate-march-marks-trumps-100th-day-with-oakland-protest-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are no jobs on a dead planet.” “Make the earth cool again.” “I need ice, ice, baby.” \u003c/p>\n\u003cp>As Bay Area comedian Margo Gomez and spoken-word artist Jevon Cochran took turns reading handmade signs from a bicycle-powered stage, hundreds of people danced, rallied and marched Saturday, choosing to spend a beautiful afternoon at Lake Merritt urging a fight against climate change.\u003c/p>\n\u003cp>On April 29, which marked the end of the first 100 days of the Trump administration, the rally featured talks from local artists, dozens of booths with information on sustainable living and live music from LoCura and Rupa & the April Fishes.\u003c/p>\n\u003cfigure id=\"attachment_13131277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg\" alt=\"Rupa & the April Fishes perform at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa & the April Fishes perform at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gomez and Cochran urged the crowd to get more involved with their local community to push for action — and Cochran decided to lead by example, taking $5 out of his pocket and donating it to the Bay Area People’s Climate Movement.\u003c/p>\n\u003cp>The grassy area in front of the Lake Merritt Amphitheater teemed with a diverse mix of people: young children, parents, college students and veteran activists. Oakland’s was one of more than 250 sister marches supporting the People’s Climate March in Washington, D.C., and police estimated total attendance at 2,500. \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>Among those were groups of environmental activists choreographing a dance to a “Soil” version of Lorde’s “Royals,” a mother-daughter duo biking to power the stage, groups of people meditating on the grass and even a few dressed as polar bears. \u003c/p>\n\u003cfigure id=\"attachment_13131269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg\" alt=\"Event MCs Marga Gomez and Jevon Cocharan at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event MCs Marga Gomez and Jevon Cocharan at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true sustainable fashion, the stage was powered by Rock The Bike, a pedal-power concert and activities company owned by Paul Freedman. “I think people need to feel inspired by teamwork and personal action,” Freedman said. “We can’t wait for Teslas, solar panels and wind turbines to fix it, and we certainly can’t wait for politicians to fix it.”\u003c/p>\n\u003cp>Event coordinator Louise Chegwidden also said she hoped to inspire others. “The people who least contribute to greenhouse gasses are the first to be impacted by the ravages of climate change and that’s not right,” Chegwidden says. “I have a 14-year-old son, I breathe air, I drink water, I’m human and I’m part of the biosphere that we share with all other life — and we are the ones who are ruining the show for everybody. So we’re the ones who need to clean it up.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below. (All photos by Estefany Gonzalez.)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"slideshow","size":"full","ids":"13131278,13131265,13131272,13131267,13131275,13131266,13131273,13131268,13131270,13131264,13131271,13131276,13131274,13134190,13134189,13134188,13134187","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13130991/climate-march-marks-trumps-100th-day-with-oakland-protest-photos","authors":["byline_arts_13130991"],"series":["arts_1259"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_1642","arts_1118","arts_1785","arts_746","arts_596","arts_822","arts_769"],"featImg":"arts_13131262","label":"arts_1259"},"arts_13077335":{"type":"posts","id":"arts_13077335","meta":{"index":"posts_1591205157","site":"arts","id":"13077335","score":null,"sort":[1492786830000]},"guestAuthors":[],"slug":"rock-poster-artist-chuck-sperry-turns-focus-to-science-march","title":"Rock Poster Artist Chuck Sperry Turns Focus to Science March","publishDate":1492786830,"format":"standard","headTitle":"Rock Poster Artist Chuck Sperry Turns Focus to Science March | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.chucksperry.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Chuck Sperry\u003c/a> is best known for his rock concert posters of bands like The Who, Pearl Jam and Black Sabbath. But the San Francisco-based graphic artist is also passionate about street-level politics. His protest posters, available for free, often show up wherever people are protesting.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>“I wanted to find some icon to show that our future is with our support for science,” says Sperry of the poster image featuring a close-up of a human eye he created for the \u003ca href=\"https://www.marchforscience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Science\u003c/a> that’s happening Saturday, April 22 — Earth Day — in Washington D.C as well as elsewhere around the country. Thousands of people are expected to descend on the National Mall in protest against the Trump Administration’s naysaying stance on climate change and bid to cut billions of dollars from science-focused federal agencies and scientific research.\u003c/p>\n\u003cp>“That’s the trick: Take a complex idea and boil it down to one thing,” Sperry says. “This eye gazing into the distance with a galaxy reflected in it; I wanted to show wonder and discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13079117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079117 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg\" alt=\"Poster design for the Apr. 22 March for Science by Chuck Sperry.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster design for the Apr. 22 March for Science by Chuck Sperry. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the backside of the poster, Sperry created an image of an astronaut, along with a list of adjectives like “adventurer,” “explorer,” and “risk-taker.” He says these words “positively express the discovery and the risk-taking” of scientific endeavor. “I’m trying to ignite kids to see themselves as adventurers and explorers,” Sperry says. “I’m also a huge space nut. I’ve got some space memorabilia myself.”\u003c/p>\n\u003cfigure id=\"attachment_13079118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079118 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg\" alt=\"The backside of Chuck Sperry's poster for the March for Science.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The backside of Chuck Sperry’s poster for the March for Science. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sperry, who previously designed a \u003ca href=\"http://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">poster for the Women’s March\u003c/a> in January, says he was inspired to make these images by the science education company \u003ca href=\"http://exploreplanet3.com/standwithscience/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet 3\u003c/a>. He says the organization is helping to distribute the images for the march by sharing a downloadable link to the poster via its website and social media channels.\u003c/p>\n\u003cfigure id=\"attachment_13079114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-800x1063.jpg\" alt=\"Chuck Sperry designed this free protest poster, called "Resist" for the Women's March in January of 2017.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry designed this free protest poster, called “Resist” for the Women’s March in January of 2017. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco-based artist owns his own silk screen print studio in Oakland, so it’s easy for him to make and distribute thousands of copies. Sperry will be distributing posters himself at the \u003ca href=\"https://marchforsciencesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco March for Science\u003c/a>, an offshoot of the main protest happening in Washington D.C. on Saturday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m on call,” Sperry says. “Waiting to activate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n","blocks":[],"excerpt":"With his two bold and freely-downloadable poster designs featuring a human eye and an astronaut, the San Francisco-based graphic artist arms protesters for this weekend's March for Science. ","status":"publish","parent":0,"modified":1705030884,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":481},"headData":{"title":"Rock Poster Artist Chuck Sperry Turns Focus to Science March | KQED","description":"With his two bold and freely-downloadable poster designs featuring a human eye and an astronaut, the San Francisco-based graphic artist arms protesters for this weekend's March for Science. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13077335/rock-poster-artist-chuck-sperry-turns-focus-to-science-march","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.chucksperry.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Chuck Sperry\u003c/a> is best known for his rock concert posters of bands like The Who, Pearl Jam and Black Sabbath. But the San Francisco-based graphic artist is also passionate about street-level politics. His protest posters, available for free, often show up wherever people are protesting.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>“I wanted to find some icon to show that our future is with our support for science,” says Sperry of the poster image featuring a close-up of a human eye he created for the \u003ca href=\"https://www.marchforscience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Science\u003c/a> that’s happening Saturday, April 22 — Earth Day — in Washington D.C as well as elsewhere around the country. Thousands of people are expected to descend on the National Mall in protest against the Trump Administration’s naysaying stance on climate change and bid to cut billions of dollars from science-focused federal agencies and scientific research.\u003c/p>\n\u003cp>“That’s the trick: Take a complex idea and boil it down to one thing,” Sperry says. “This eye gazing into the distance with a galaxy reflected in it; I wanted to show wonder and discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13079117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079117 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg\" alt=\"Poster design for the Apr. 22 March for Science by Chuck Sperry.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster design for the Apr. 22 March for Science by Chuck Sperry. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the backside of the poster, Sperry created an image of an astronaut, along with a list of adjectives like “adventurer,” “explorer,” and “risk-taker.” He says these words “positively express the discovery and the risk-taking” of scientific endeavor. “I’m trying to ignite kids to see themselves as adventurers and explorers,” Sperry says. “I’m also a huge space nut. I’ve got some space memorabilia myself.”\u003c/p>\n\u003cfigure id=\"attachment_13079118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079118 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg\" alt=\"The backside of Chuck Sperry's poster for the March for Science.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The backside of Chuck Sperry’s poster for the March for Science. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sperry, who previously designed a \u003ca href=\"http://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">poster for the Women’s March\u003c/a> in January, says he was inspired to make these images by the science education company \u003ca href=\"http://exploreplanet3.com/standwithscience/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet 3\u003c/a>. He says the organization is helping to distribute the images for the march by sharing a downloadable link to the poster via its website and social media channels.\u003c/p>\n\u003cfigure id=\"attachment_13079114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-800x1063.jpg\" alt=\"Chuck Sperry designed this free protest poster, called "Resist" for the Women's March in January of 2017.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry designed this free protest poster, called “Resist” for the Women’s March in January of 2017. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco-based artist owns his own silk screen print studio in Oakland, so it’s easy for him to make and distribute thousands of copies. Sperry will be distributing posters himself at the \u003ca href=\"https://marchforsciencesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco March for Science\u003c/a>, an offshoot of the main protest happening in Washington D.C. on Saturday.\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>“I’m on call,” Sperry says. “Waiting to activate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13077335/rock-poster-artist-chuck-sperry-turns-focus-to-science-march","authors":["251"],"series":["arts_1259"],"categories":["arts_70"],"tags":["arts_1642","arts_1119","arts_1118","arts_596","arts_4642"],"featImg":"arts_13083134","label":"arts_1259"},"arts_13074574":{"type":"posts","id":"arts_13074574","meta":{"index":"posts_1591205157","site":"arts","id":"13074574","score":null,"sort":[1492628435000]},"guestAuthors":[],"slug":"theres-still-hope-for-planet-earth-at-the-sf-green-film-festival","title":"There’s Still Hope for Planet Earth at the SF Green Film Festival","publishDate":1492628435,"format":"image","headTitle":"There’s Still Hope for Planet Earth at the SF Green Film Festival | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>If every mushroom cloud has a silver lining, it’s that filmmakers flirt with disaster for our edification and enlightenment. Following their lead, the seventh \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, running April 20 through 26, “embraces” the nuclear age with a revival of local doc makers Judy Irving, Christopher Beaver and Ruth Landy’s 1982 Emmy Award-winning nuclear-weapons exposé \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272169~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dark Circle\u003c/a>\u003c/i>, as well as the San Francisco premiere of U.K. visionary Mark Cousins’ found-footage excavation \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272165~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Atomic: Living in Dread and Promise\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The festival takes on a slew of other environmental issues, to be sure, but we’re talking about apocalypse \u003cem>now\u003c/em>, not tomorrow. So the programmers had the brainstorm of lightening up the lineup with the brilliant absurdity of Kubrick’s \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272172~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb\u003c/a>\u003c/i>. Alas, who could have imagined that a new president would threaten North Korea in his first 100 days? (Unrelated question: What happens after reality mocks satire?)\u003c/p>\n\u003cp>Now you understand why Green Film Festival founder and chief executive Rachel Caplan frequently breaks into laughter in the course of an interview. A sense of humor is essential to staying sane in the face of fresh catastrophe. That, and movies that prescribe solutions rather than merely expose problems.\u003c/p>\n\u003cp>https://youtu.be/BMnVTXqX9Gk\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272179~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">A Plastic Ocean\u003c/a>\u003c/em> (sea pollution), \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272176~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Last of the Longnecks\u003c/a>\u003c/em> (giraffes and conservation) and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272182~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">RiverBlue\u003c/a>\u003c/em> (about a Southeast Asian river so polluted by tanneries and dyeing houses that its color reveals what shade is in fashion that season) are among the stronger advocacy films in this year’s festival. Caplan and the screening committee prefer works like these that inspire audiences with steps they can make rather than depicting doom and gloom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think audiences are very quick to catch on to ideas in the films,” Caplan says. “There’s only so much within a film that you can do to make people feel disheartened, and then you have to offer them solutions. A lot of people who come to the festival know we’re in serious trouble, and of course you want to bring them the latest updates from the front lines, but you want to tell them about great work and how we can all make a difference. I think those films resonate with audiences.”\u003c/p>\n\u003cp>https://youtu.be/74XKZDdaj-w\u003c/p>\n\u003cp>A decade on from Al Gore’s breakthrough PowerPoint lecture, \u003ci>An Inconvenient Truth\u003c/i>, and with the sequel coming out this summer, it’s worth pondering how environmental docs — as well as audiences — have evolved. Caplan, however, focuses on what always has and always will work.\u003c/p>\n\u003cp>“We see trends in any kind of films, but it comes down to storytelling at the end of the day,” she asserts. “And characters. People connect with other people. Spending an hour or two hours with someone on the other side of the planet, you can follow the challenges they or their community are faced with. Particularly those David and Goliath stories we see a lot in the environmental realm. We can share in their victory, or their heartbreak or loss.”\u003c/p>\n\u003cp>While moviegoers may connect with a particular issue, or place, the S.F. Green Film Festival encompasses a wide range of issues. Aligning with a variety of social-change nonprofits over the years is consistent with Caplan’s broader vision for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13077989\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg\" alt=\"Still from Dean Mermell's 'Twelve Pianos,' 2017.\" width=\"960\" height=\"540\" class=\"size-full wp-image-13077989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dean Mermell’s ‘Twelve Pianos,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The environment, and environmental causes, and the environmental movement is completely intertwined with other social movements, whether it’s gender equality or Black Lives Matter,” she says. “Very often the environmental movement is presented as about carbon particles in the atmosphere and graphs and charts, but it’s about people. So I think all these social issues are connected, and gender is a large part of it.”\u003c/p>\n\u003cp>You may recall there isn’t a single woman in the War Room in \u003ci>Dr. Strangelove\u003c/i>. Coincidence, or commentary on the ability of men in power to create problems without bringing the same single-minded obsession to solving them?\u003c/p>\n\u003cp>“You can’t talk about environmental justice without talking about women’s equality,” Caplan says. “There are direct examples when we educate women and girls and they have opportunities. First of all, the birthrate goes down, and we clearly have an overpopulation crisis. Also, women have more opportunity to be involved in their community, to form community groups, to be leaders, to make a difference.”\u003c/p>\n\u003cfigure id=\"attachment_13077987\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13077987\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg\" alt=\"Still from Mischa Hedges' 'Women's March,' 2017.\" width=\"1234\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-520x292.jpg 520w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mischa Hedges’ ‘Women’s March,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s contribution includes an ongoing commitment to increase the visibility of women onscreen and behind the camera. Since its inception, championing female directors has been a central objective.\u003c/p>\n\u003cp>“I think in film, as in all arts, inclusion brings the richest stories to the forefront,” Caplan says. “In an industry where the number of female filmmakers is minuscule, it’s vital that we as a film festival support their work.”\u003c/p>\n\u003cp>Especially if we are to have any chance of fending off the apocalypse, in the short or the long term.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>The seventh San Francisco Green Film Festival runs April 20-26, 2017 at the Castro and Roxie Theaters and other venues throughout the city. For tickets and more information, \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Now in its seventh year, the local film festival continues to expand the conversation about environmentalism with a focus on character-driven storytelling.","status":"publish","parent":0,"modified":1705030912,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":932},"headData":{"title":"There’s Still Hope for Planet Earth at the SF Green Film Festival | KQED","description":"Now in its seventh year, the local film festival continues to expand the conversation about environmentalism with a focus on character-driven storytelling.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13074574/theres-still-hope-for-planet-earth-at-the-sf-green-film-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If every mushroom cloud has a silver lining, it’s that filmmakers flirt with disaster for our edification and enlightenment. Following their lead, the seventh \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, running April 20 through 26, “embraces” the nuclear age with a revival of local doc makers Judy Irving, Christopher Beaver and Ruth Landy’s 1982 Emmy Award-winning nuclear-weapons exposé \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272169~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dark Circle\u003c/a>\u003c/i>, as well as the San Francisco premiere of U.K. visionary Mark Cousins’ found-footage excavation \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272165~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Atomic: Living in Dread and Promise\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The festival takes on a slew of other environmental issues, to be sure, but we’re talking about apocalypse \u003cem>now\u003c/em>, not tomorrow. So the programmers had the brainstorm of lightening up the lineup with the brilliant absurdity of Kubrick’s \u003ci>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272172~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb\u003c/a>\u003c/i>. Alas, who could have imagined that a new president would threaten North Korea in his first 100 days? (Unrelated question: What happens after reality mocks satire?)\u003c/p>\n\u003cp>Now you understand why Green Film Festival founder and chief executive Rachel Caplan frequently breaks into laughter in the course of an interview. A sense of humor is essential to staying sane in the face of fresh catastrophe. That, and movies that prescribe solutions rather than merely expose problems.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BMnVTXqX9Gk'\n title='//www.youtube.com/embed/BMnVTXqX9Gk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272179~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">A Plastic Ocean\u003c/a>\u003c/em> (sea pollution), \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272176~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Last of the Longnecks\u003c/a>\u003c/em> (giraffes and conservation) and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=272182~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">RiverBlue\u003c/a>\u003c/em> (about a Southeast Asian river so polluted by tanneries and dyeing houses that its color reveals what shade is in fashion that season) are among the stronger advocacy films in this year’s festival. Caplan and the screening committee prefer works like these that inspire audiences with steps they can make rather than depicting doom and gloom.\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>“I think audiences are very quick to catch on to ideas in the films,” Caplan says. “There’s only so much within a film that you can do to make people feel disheartened, and then you have to offer them solutions. A lot of people who come to the festival know we’re in serious trouble, and of course you want to bring them the latest updates from the front lines, but you want to tell them about great work and how we can all make a difference. I think those films resonate with audiences.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/74XKZDdaj-w'\n title='//www.youtube.com/embed/74XKZDdaj-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A decade on from Al Gore’s breakthrough PowerPoint lecture, \u003ci>An Inconvenient Truth\u003c/i>, and with the sequel coming out this summer, it’s worth pondering how environmental docs — as well as audiences — have evolved. Caplan, however, focuses on what always has and always will work.\u003c/p>\n\u003cp>“We see trends in any kind of films, but it comes down to storytelling at the end of the day,” she asserts. “And characters. People connect with other people. Spending an hour or two hours with someone on the other side of the planet, you can follow the challenges they or their community are faced with. Particularly those David and Goliath stories we see a lot in the environmental realm. We can share in their victory, or their heartbreak or loss.”\u003c/p>\n\u003cp>While moviegoers may connect with a particular issue, or place, the S.F. Green Film Festival encompasses a wide range of issues. Aligning with a variety of social-change nonprofits over the years is consistent with Caplan’s broader vision for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13077989\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg\" alt=\"Still from Dean Mermell's 'Twelve Pianos,' 2017.\" width=\"960\" height=\"540\" class=\"size-full wp-image-13077989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Twelve-Pianos-2-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dean Mermell’s ‘Twelve Pianos,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The environment, and environmental causes, and the environmental movement is completely intertwined with other social movements, whether it’s gender equality or Black Lives Matter,” she says. “Very often the environmental movement is presented as about carbon particles in the atmosphere and graphs and charts, but it’s about people. So I think all these social issues are connected, and gender is a large part of it.”\u003c/p>\n\u003cp>You may recall there isn’t a single woman in the War Room in \u003ci>Dr. Strangelove\u003c/i>. Coincidence, or commentary on the ability of men in power to create problems without bringing the same single-minded obsession to solving them?\u003c/p>\n\u003cp>“You can’t talk about environmental justice without talking about women’s equality,” Caplan says. “There are direct examples when we educate women and girls and they have opportunities. First of all, the birthrate goes down, and we clearly have an overpopulation crisis. Also, women have more opportunity to be involved in their community, to form community groups, to be leaders, to make a difference.”\u003c/p>\n\u003cfigure id=\"attachment_13077987\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13077987\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg\" alt=\"Still from Mischa Hedges' 'Women's March,' 2017.\" width=\"1234\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Womens-March-1-520x292.jpg 520w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mischa Hedges’ ‘Women’s March,’ 2017. \u003ccite>(Courtesy of SF Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival’s contribution includes an ongoing commitment to increase the visibility of women onscreen and behind the camera. Since its inception, championing female directors has been a central objective.\u003c/p>\n\u003cp>“I think in film, as in all arts, inclusion brings the richest stories to the forefront,” Caplan says. “In an industry where the number of female filmmakers is minuscule, it’s vital that we as a film festival support their work.”\u003c/p>\n\u003cp>Especially if we are to have any chance of fending off the apocalypse, in the short or the long term.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>The seventh San Francisco Green Film Festival runs April 20-26, 2017 at the Castro and Roxie Theaters and other venues throughout the city. For tickets and more information, \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13074574/theres-still-hope-for-planet-earth-at-the-sf-green-film-festival","authors":["22"],"series":["arts_1259"],"categories":["arts_74","arts_235"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_13077988","label":"arts_1259"},"arts_12997690":{"type":"posts","id":"arts_12997690","meta":{"index":"posts_1591205157","site":"arts","id":"12997690","score":null,"sort":[1492455653000]},"guestAuthors":[],"slug":"mad-max-meets-trumps-america-images-spark-controversy","title":"'Mad Max Meets Trump's America' Images Spark Controversy","publishDate":1492455653,"format":"standard","headTitle":"‘Mad Max Meets Trump’s America’ Images Spark Controversy | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>Mining engineer-turned-photographer \u003ca href=\"http://www.vonwong.com\" target=\"_blank\" rel=\"noopener\">Benjamin Von Wong\u003c/a>’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>While most salute the brilliant photography, some audience members are protesting the message implicit in \u003cem>Mad Max meets Trump’s America\u003c/em> on social media, saying the series “doesn’t target the real polluters” or that it’s a distraction from the true challenge of “making America work again.”\u003c/p>\n\u003cp>The San Francisco-based, Canadian-born artist shot the series in May 2016 at \u003ca href=\"http://www.ferropolis.de/\" target=\"_blank\" rel=\"noopener\">Ferropolis \u003c/a>– a vast outdoor industrial museum on the site of a decommissioned strip mine in Germany.\u003c/p>\n\u003cfigure id=\"attachment_12997693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997693 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s background as a mining engineer proved critical in the creation of the pyrotechnic effects. And the \u003ca href=\"https://www.facebook.com/wasteland.warriors.net/\" target=\"_blank\" rel=\"noopener\">Wasteland Warriors\u003c/a> — an art collective that specializes in making costumes and scenery using mainly recycled material and army surplus equipment — also helped to give the work a post-apocalyptic vibe. You can get behind-the-scenes views of the shoot on Wong’s blog \u003ca href=\"http://blog.vonwong.com/2017/01/30/mad_max_trump/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong wrapped the project last November. Even though it was conceived before President Donald Trump came to office, the powerful anti-pollution theme of \u003cem>Mad Max meets Trump’s America\u003c/em> inescapably serves as a strong critique of the U.S. administration’s pandering to the coal industry, and overall stance on environmental issues.\u003c/p>\n\u003cfigure id=\"attachment_12997694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997694 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED caught up with Wong to find out more about the project.\u003c/p>\n\u003cp>\u003cstrong>Why the haters?\u003c/strong>\u003c/p>\n\u003cp>When I was designing the project, I wasn’t particularly focused on coal. I was focused on the broader idea that nobody likes pollution. But the people who are fighting for coal jobs to come back don’t care. They’re looking at what they need in the short term, and I get that. Unfortunately it’s not forward-thinking. There’s been a lot of knee-jerk reaction. “Instead of complaining about what we’re doing here in the U.S.,” I’ve been asked, “why don’t you go talk to India and China?” But India and \u003ca href=\"https://www.ft.com/content/c2639518-1498-11e7-b0c1-37e417ee6c76\" target=\"_blank\" rel=\"noopener\">China\u003c/a> are putting new environmental regulations in place; they’re actually going in the right direction. The only country going \u003ca href=\"http://www.reuters.com/article/us-climatechange-accord-usa-idUSKBN13900L\" target=\"_blank\" rel=\"noopener\">backward\u003c/a> is the United States.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to create a complex post-apocalyptic photoshoot - Mad Max meets Trump's America\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/5IbPtwVV29Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked on a wide range of projects, and are now focused solely on conservation efforts. How do you feel you can make a difference?\u003c/strong>\u003c/p>\n\u003cp>By convincing corporations to start taking social responsibility, and helping them talk about it in a way that will bring the subject top of mind with consumers. I’m trying to prove that you can communicate these complex issues in a catchy way so that people will want to know more. And that you can sell a product not through what the product actually does but through what you stand for.\u003c/p>\n\u003cfigure id=\"attachment_12997695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997695 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251.jpg 1580w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis. \u003ccite>(Photo: Benjamin Von Wong )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next stage in consumer behavior is that consumers will make choices built around the values of manufacturers. And if large corporations start talking about their social initiatives, then the smaller companies will start doing it. We’re starting to see that. Look at the Super Bowl ads this year. Many of them took a political stance. Companies realize it’s extremely effective marketing for them to stand for something.\u003c/p>\n\u003cfigure id=\"attachment_12997696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997696 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769.jpg 1464w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This work taps into a collective feeling of despair and anxiety. Where is the silver lining, if there is one? \u003c/strong>\u003c/p>\n\u003cp>There’s been a resurgence in resistance. There are more people now than ever speaking up in defense of the environment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n","blocks":[],"excerpt":"Mining engineer-turned-photographer Benjamin Von Wong’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.","status":"publish","parent":0,"modified":1705030934,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":674},"headData":{"title":"'Mad Max Meets Trump's America' Images Spark Controversy | KQED","description":"Mining engineer-turned-photographer Benjamin Von Wong’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/12997690/mad-max-meets-trumps-america-images-spark-controversy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mining engineer-turned-photographer \u003ca href=\"http://www.vonwong.com\" target=\"_blank\" rel=\"noopener\">Benjamin Von Wong\u003c/a>’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>While most salute the brilliant photography, some audience members are protesting the message implicit in \u003cem>Mad Max meets Trump’s America\u003c/em> on social media, saying the series “doesn’t target the real polluters” or that it’s a distraction from the true challenge of “making America work again.”\u003c/p>\n\u003cp>The San Francisco-based, Canadian-born artist shot the series in May 2016 at \u003ca href=\"http://www.ferropolis.de/\" target=\"_blank\" rel=\"noopener\">Ferropolis \u003c/a>– a vast outdoor industrial museum on the site of a decommissioned strip mine in Germany.\u003c/p>\n\u003cfigure id=\"attachment_12997693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997693 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s background as a mining engineer proved critical in the creation of the pyrotechnic effects. And the \u003ca href=\"https://www.facebook.com/wasteland.warriors.net/\" target=\"_blank\" rel=\"noopener\">Wasteland Warriors\u003c/a> — an art collective that specializes in making costumes and scenery using mainly recycled material and army surplus equipment — also helped to give the work a post-apocalyptic vibe. You can get behind-the-scenes views of the shoot on Wong’s blog \u003ca href=\"http://blog.vonwong.com/2017/01/30/mad_max_trump/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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>Wong wrapped the project last November. Even though it was conceived before President Donald Trump came to office, the powerful anti-pollution theme of \u003cem>Mad Max meets Trump’s America\u003c/em> inescapably serves as a strong critique of the U.S. administration’s pandering to the coal industry, and overall stance on environmental issues.\u003c/p>\n\u003cfigure id=\"attachment_12997694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997694 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED caught up with Wong to find out more about the project.\u003c/p>\n\u003cp>\u003cstrong>Why the haters?\u003c/strong>\u003c/p>\n\u003cp>When I was designing the project, I wasn’t particularly focused on coal. I was focused on the broader idea that nobody likes pollution. But the people who are fighting for coal jobs to come back don’t care. They’re looking at what they need in the short term, and I get that. Unfortunately it’s not forward-thinking. There’s been a lot of knee-jerk reaction. “Instead of complaining about what we’re doing here in the U.S.,” I’ve been asked, “why don’t you go talk to India and China?” But India and \u003ca href=\"https://www.ft.com/content/c2639518-1498-11e7-b0c1-37e417ee6c76\" target=\"_blank\" rel=\"noopener\">China\u003c/a> are putting new environmental regulations in place; they’re actually going in the right direction. The only country going \u003ca href=\"http://www.reuters.com/article/us-climatechange-accord-usa-idUSKBN13900L\" target=\"_blank\" rel=\"noopener\">backward\u003c/a> is the United States.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to create a complex post-apocalyptic photoshoot - Mad Max meets Trump's America\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/5IbPtwVV29Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked on a wide range of projects, and are now focused solely on conservation efforts. How do you feel you can make a difference?\u003c/strong>\u003c/p>\n\u003cp>By convincing corporations to start taking social responsibility, and helping them talk about it in a way that will bring the subject top of mind with consumers. I’m trying to prove that you can communicate these complex issues in a catchy way so that people will want to know more. And that you can sell a product not through what the product actually does but through what you stand for.\u003c/p>\n\u003cfigure id=\"attachment_12997695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997695 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251.jpg 1580w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis. \u003ccite>(Photo: Benjamin Von Wong )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next stage in consumer behavior is that consumers will make choices built around the values of manufacturers. And if large corporations start talking about their social initiatives, then the smaller companies will start doing it. We’re starting to see that. Look at the Super Bowl ads this year. Many of them took a political stance. Companies realize it’s extremely effective marketing for them to stand for something.\u003c/p>\n\u003cfigure id=\"attachment_12997696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997696 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769.jpg 1464w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This work taps into a collective feeling of despair and anxiety. Where is the silver lining, if there is one? \u003c/strong>\u003c/p>\n\u003cp>There’s been a resurgence in resistance. There are more people now than ever speaking up in defense of the environment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12997690/mad-max-meets-trumps-america-images-spark-controversy","authors":["11206"],"series":["arts_1259"],"categories":["arts_71","arts_70"],"tags":["arts_1642","arts_1118","arts_596","arts_989"],"featImg":"arts_12997692","label":"arts_1259"}},"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/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"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/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"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://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"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://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"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/2024/04/Consider-This-Podcast-Tile-703x703-1.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://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"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. 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