In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time
Your Guide to the Bay Area's Best Art Exhibitions This Summer
San Francisco's Exploratorium Unveils LGBTQ+ Themed Programming For Pride Month
The Exploratorium Gears Up for a July Reopening
Newsom Proposes Cutting California Arts Council, Exploratorium Funding
Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF
Watch the Exploratorium Light Up the Night at 'After Dark: Glow'
Now Playing! At Exploratorium, Curious Films for Curious Children and Adults
Now Playing! At the Exploratorium, A Look Behind the Filmmaking Curtain
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One might be the magic of the Foley artist at work: a person who uses everyday objects and their own body to create what we \u003ci>think\u003c/i> things should sound like on film. One might be the lonesome, futile mating call of the last of a species. Or the life-affirming and joyous beat of Donna Summer’s “\u003ca href=\"https://youtu.be/6S2n5Tbq_0s\">I Feel Love\u003c/a>.”\u003c/p>\n\u003cp>But the moment I’ve carried with me over the past year since first experiencing \u003ci>32 Sounds\u003c/i> comes from a quieter, more ordinary scene. In it, a child speaks to his adult self on a recording not meant to be heard until the year 2000, the audio equivalent of a time capsule. “Although you exist in a different time, I am talking to you through this machine,” young Edgar Choueiri says sometime around 1972, to his much-older self. “I hope you have remained like you were in the past. Like you were at age 11. And also, I hope you have made my dreams come true.”\u003c/p>\n\u003cp>Sound, this film repeatedly demonstrates, is transportive. \u003ci>32 Sound\u003c/i>’s cast of charming audio-adjacent characters are often shown simply listening to recordings, their bodies here and now, but their minds somewhere else entirely: at the bottom of a river, 50 years in the past, or in a country from which they have been exiled. We watch them absorb those noises and feel, through them, how incredibly powerful sound can be — in its absence or its presence — both socially and emotionally.\u003c/p>\n\u003cp>For only the second time since its February 2022 Stanford Live debut, Bay Area audiences have a chance to experience \u003ci>32 Sounds\u003c/i> in both its live and theatrical versions. Green is not an ordinary documentarian, but a creator of live films, events at which the constituent parts of a piece have been split out to make them visible and semi-spontaneous — narration here, score there, images projected above. As he explains by phone from New York, “There’s a kind of looseness that comes with a live event.” At the Stanford premiere, for example, a computer died on the spot, but was calmly switched out within minutes. For the audience, the combination of so many moving parts fosters a sense of risky thrill.\u003c/p>\n\u003cfigure id=\"attachment_13931603\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Director Sam Green stands with recording equipment in an anechoic chamber. \u003ccite>(Free History Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the live version of \u003ci>32 Sounds\u003c/i>, playing July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a>, Green will narrate his film in person. In both this and the versions playing July 28–30 at the Roxie, the Smith Rafael Film Center and the Rialto Cinemas Elmwood, some portions of the documentary are heard collectively in the theater while others come via binaural headphones handed out before each screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In lieu of their physical selves, a warm prerecorded greeting by Green and JD Samson (who did the film’s music) encourages audiences in the theatrical version to break out of their normal theater-going behavior and respond to interactive cues by dancing, closing their eyes or letting out a good, cathartic yell.\u003c/p>\n\u003cp>Coming off a nine-week theatrical run at New York’s Film Forum, Green says it’s tough to get people to disobey movie etiquette, even with a film that’s as self-reflexive as \u003ci>32 Sounds\u003c/i>. “Sometimes there’s got to be a real kooky person who will get up and dance, because there’s a kind of unspoken decorum in movie theaters,” he explains. “You’re not supposed to talk. You’re not supposed to get up. People will shush you if you do. So it takes a real weirdo to do that, but sometimes it happens!”\u003c/p>\n\u003cp>Green has made a practice out of breaking conventions, and even in the more traditional version of \u003ci>32 Sounds\u003c/i>, the interactive cues are meant to clue audiences into all the aspects of movie-making and movie-watching that often get willfully ignored.\u003c/p>\n\u003cfigure id=\"attachment_13931601\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg\" alt=\"Woman holds mic out of car window while a man drives at night in city\" width=\"1920\" height=\"1013\" class=\"size-full wp-image-13931601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1536x810.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sound recordist Laura Cunningham rides in Don Garcia’s car through the streets of Brooklyn while he plays Phil Collins’ ‘In the Air Tonight.’ \u003ccite>(32 Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In general, I like pulling the curtain back from the filmmaking process,” Green says. “There’s a lot of silly conventions of filmmaking where we’re all pretending this is not a movie, and we all know it’s a movie. Sometimes it’s nice to just admit it and kind of go from there.”\u003c/p>\n\u003cp>In \u003ci>32 Sounds\u003c/i>, this means direct references to the quality of a theater’s sound system, and how removed that is from the way we actually hear things near, far, up and down. It means showing shotgun mics and boom mics within a shot, along with the people who skillfully wield them. It’s a scene of Samson playing guitar while Green talks about the difficulty of scoring a film, of making a film, of making \u003ci>this\u003c/i> film.\u003c/p>\n\u003cp>The guiding philosophy of \u003ci>32 Sounds\u003c/i>’ non-narrative narrative comes from composer \u003ca href=\"https://www.annealockwood.com/\">Annea Lockwood\u003c/a>, a huge figure in the avant-garde music scene who has recorded rivers around the globe for 50 years, putting out albums like \u003ci>A Sound Map of the Hudson River\u003c/i> (1989). Her calm, eloquent wonder at the natural world, its sounds and secrets grounds the film in generous curiosity. And her approach to listening — to listen \u003ci>with\u003c/i> the world rather than \u003ci>to\u003c/i> it — is a stick-with-you moment that lasts well beyond the chirping crickets of the film’s final, beautiful scene.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>‘32 Sounds’ plays July 27–30 at select Bay Area theaters. The live version plays at 7 p.m. on Thursday, July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a> with live narration by Sam Green. The theatrical versions play July 28–30 at the \u003ca href=\"https://rafaelfilm.cafilm.org/32-sounds/\">Smith Rafael Film Center\u003c/a>, the \u003ca href=\"https://roxie.com/film/32-sounds/\">Roxie Theater\u003c/a> and \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/\">Rialto Cinemas Elmwood\u003c/a> with Q&As with Sam Green after most screenings. Check each theater for screening details and tickets.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Viewers feel how incredibly powerful sound can be — in its absence or its presence — in this captivating documentary.","status":"publish","parent":0,"modified":1705005276,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1043},"headData":{"title":"Inventive ‘32 Sounds’ Documentary Arrives in Bay Area Theaters | KQED","description":"Viewers feel how incredibly powerful sound can be — in its absence or its presence — in this captivating documentary.","ogTitle":"In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time","ogDescription":"","ogImgId":"","twTitle":"In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time","twDescription":"","twImgId":"","socialTitle":"Inventive ‘32 Sounds’ Documentary Arrives in Bay Area Theaters %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Sam Green’s ‘32 Sounds’ Documentary, Sound Opens Doors Across Space and Time","datePublished":"2023-07-13T22:56:16.000Z","dateModified":"2024-01-11T20:34:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931594/32-sounds-sam-green-documentary-live-film","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are at least 32 potential stick-with-you moments in \u003ca href=\"https://samgreen.to/\">Sam Green\u003c/a>’s inventive and contemplative documentary \u003ci>\u003ca href=\"https://32sounds.com/\">32 Sounds\u003c/a>\u003c/i>. One might be the magic of the Foley artist at work: a person who uses everyday objects and their own body to create what we \u003ci>think\u003c/i> things should sound like on film. One might be the lonesome, futile mating call of the last of a species. Or the life-affirming and joyous beat of Donna Summer’s “\u003ca href=\"https://youtu.be/6S2n5Tbq_0s\">I Feel Love\u003c/a>.”\u003c/p>\n\u003cp>But the moment I’ve carried with me over the past year since first experiencing \u003ci>32 Sounds\u003c/i> comes from a quieter, more ordinary scene. In it, a child speaks to his adult self on a recording not meant to be heard until the year 2000, the audio equivalent of a time capsule. “Although you exist in a different time, I am talking to you through this machine,” young Edgar Choueiri says sometime around 1972, to his much-older self. “I hope you have remained like you were in the past. Like you were at age 11. And also, I hope you have made my dreams come true.”\u003c/p>\n\u003cp>Sound, this film repeatedly demonstrates, is transportive. \u003ci>32 Sound\u003c/i>’s cast of charming audio-adjacent characters are often shown simply listening to recordings, their bodies here and now, but their minds somewhere else entirely: at the bottom of a river, 50 years in the past, or in a country from which they have been exiled. We watch them absorb those noises and feel, through them, how incredibly powerful sound can be — in its absence or its presence — both socially and emotionally.\u003c/p>\n\u003cp>For only the second time since its February 2022 Stanford Live debut, Bay Area audiences have a chance to experience \u003ci>32 Sounds\u003c/i> in both its live and theatrical versions. Green is not an ordinary documentarian, but a creator of live films, events at which the constituent parts of a piece have been split out to make them visible and semi-spontaneous — narration here, score there, images projected above. As he explains by phone from New York, “There’s a kind of looseness that comes with a live event.” At the Stanford premiere, for example, a computer died on the spot, but was calmly switched out within minutes. For the audience, the combination of so many moving parts fosters a sense of risky thrill.\u003c/p>\n\u003cfigure id=\"attachment_13931603\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32-Sounds_Still_1_Credit_Free-History-Project_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Director Sam Green stands with recording equipment in an anechoic chamber. \u003ccite>(Free History Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the live version of \u003ci>32 Sounds\u003c/i>, playing July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a>, Green will narrate his film in person. In both this and the versions playing July 28–30 at the Roxie, the Smith Rafael Film Center and the Rialto Cinemas Elmwood, some portions of the documentary are heard collectively in the theater while others come via binaural headphones handed out before each screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In lieu of their physical selves, a warm prerecorded greeting by Green and JD Samson (who did the film’s music) encourages audiences in the theatrical version to break out of their normal theater-going behavior and respond to interactive cues by dancing, closing their eyes or letting out a good, cathartic yell.\u003c/p>\n\u003cp>Coming off a nine-week theatrical run at New York’s Film Forum, Green says it’s tough to get people to disobey movie etiquette, even with a film that’s as self-reflexive as \u003ci>32 Sounds\u003c/i>. “Sometimes there’s got to be a real kooky person who will get up and dance, because there’s a kind of unspoken decorum in movie theaters,” he explains. “You’re not supposed to talk. You’re not supposed to get up. People will shush you if you do. So it takes a real weirdo to do that, but sometimes it happens!”\u003c/p>\n\u003cp>Green has made a practice out of breaking conventions, and even in the more traditional version of \u003ci>32 Sounds\u003c/i>, the interactive cues are meant to clue audiences into all the aspects of movie-making and movie-watching that often get willfully ignored.\u003c/p>\n\u003cfigure id=\"attachment_13931601\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg\" alt=\"Woman holds mic out of car window while a man drives at night in city\" width=\"1920\" height=\"1013\" class=\"size-full wp-image-13931601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/32Sounds_InTheAirTonight_1920-1536x810.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sound recordist Laura Cunningham rides in Don Garcia’s car through the streets of Brooklyn while he plays Phil Collins’ ‘In the Air Tonight.’ \u003ccite>(32 Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In general, I like pulling the curtain back from the filmmaking process,” Green says. “There’s a lot of silly conventions of filmmaking where we’re all pretending this is not a movie, and we all know it’s a movie. Sometimes it’s nice to just admit it and kind of go from there.”\u003c/p>\n\u003cp>In \u003ci>32 Sounds\u003c/i>, this means direct references to the quality of a theater’s sound system, and how removed that is from the way we actually hear things near, far, up and down. It means showing shotgun mics and boom mics within a shot, along with the people who skillfully wield them. It’s a scene of Samson playing guitar while Green talks about the difficulty of scoring a film, of making a film, of making \u003ci>this\u003c/i> film.\u003c/p>\n\u003cp>The guiding philosophy of \u003ci>32 Sounds\u003c/i>’ non-narrative narrative comes from composer \u003ca href=\"https://www.annealockwood.com/\">Annea Lockwood\u003c/a>, a huge figure in the avant-garde music scene who has recorded rivers around the globe for 50 years, putting out albums like \u003ci>A Sound Map of the Hudson River\u003c/i> (1989). Her calm, eloquent wonder at the natural world, its sounds and secrets grounds the film in generous curiosity. And her approach to listening — to listen \u003ci>with\u003c/i> the world rather than \u003ci>to\u003c/i> it — is a stick-with-you moment that lasts well beyond the chirping crickets of the film’s final, beautiful scene.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>‘32 Sounds’ plays July 27–30 at select Bay Area theaters. The live version plays at 7 p.m. on Thursday, July 27 at the \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark-listen\">Exploratorium\u003c/a> with live narration by Sam Green. The theatrical versions play July 28–30 at the \u003ca href=\"https://rafaelfilm.cafilm.org/32-sounds/\">Smith Rafael Film Center\u003c/a>, the \u003ca href=\"https://roxie.com/film/32-sounds/\">Roxie Theater\u003c/a> and \u003ca href=\"https://rialtocinemas.com/coming-soon-elm/\">Rialto Cinemas Elmwood\u003c/a> with Q&As with Sam Green after most screenings. Check each theater for screening details and tickets.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931594/32-sounds-sam-green-documentary-live-film","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10342","arts_2483","arts_3163","arts_585"],"featImg":"arts_13931602","label":"arts_140"},"arts_13929082":{"type":"posts","id":"arts_13929082","meta":{"index":"posts_1591205157","site":"arts","id":"13929082","score":null,"sort":[1684771227000]},"guestAuthors":[],"slug":"visual-art-summer-guide-2023-sf-bay-area","title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer","publishDate":1684771227,"format":"aside","headTitle":"Your Guide to the Bay Area’s Best Art Exhibitions This Summer | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>[aside postID='arts_13924661']Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n","blocks":[],"excerpt":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","status":"publish","parent":0,"modified":1705005474,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1623},"headData":{"title":"Your Guide to the Bay Area's Best Art Exhibitions This Summer | KQED","description":"This summer’s shows testify to the talent in our own backyards, as well as art’s ability to physically transport us.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to the Bay Area's Best Art Exhibitions This Summer","datePublished":"2023-05-22T16:00:27.000Z","dateModified":"2024-01-11T20:37:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>This summer, all cross the Bay Area, our exhibition spaces are presenting work both hyper-local and international in scope. There are vibrant retrospectives, natural soundscapes and off-the-beaten-path project spaces to explore in June, July and August. The result: shows that testify to the artistic talent in our own backyards, as well as the power of art to psychically transport us. Happy art viewing! \u003c/p>\n\u003cfigure id=\"attachment_13929089\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/OMCABrightness_1920.jpg\" alt=\"Colorful abstract painting filled with small repeated circles\" width=\"1920\" height=\"1250\" class=\"size-full wp-image-13929089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/OMCABrightness_1920-1536x1000.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marilyn Wong, ‘Untitled,’ 2022. \u003ccite>(Courtesy of the artist and Creativity Explored)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://museumca.org/on-view/into-the-brightness/\">Into the Brightness: Artists from Creativity Explored, Creative Growth & NIAD\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Oakland Museum of California\u003cbr>\nMay 19, 2023–Jan. 21, 2024\u003c/i>\u003c/p>\n\u003cp>The Bay Area is blessed with not just one but three incredible institutions that work with artists with developmental disabilities, and the visual art that comes out of \u003ca href=\"https://www.creativityexplored.org/\">Creativity Explored\u003c/a>, \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> and \u003ca href=\"https://niadart.org/\">NIAD\u003c/a> can take any number of forms, including sculpture, painting, video and wearable art. The pandemic \u003ca href=\"https://www.kqed.org/arts/13878722/take-home-kits-virtual-studio-time-a-lifeline-for-artists-with-disabilities\">hit these collaborative communities hard\u003c/a>, when shelter-in-place required administrators and instructors to get extraordinarily creative to keep their artists in touch and well stocked with supplies. In the aftermath of that effort, it’s only fitting to celebrate all three organizations and their talented artists in OMCA’s largest gallery.\u003c/p>\n\u003cfigure id=\"attachment_13929090\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg\" alt=\"Colorful large painting with multiple figures mounted inside a metal futuristic freestanding frame\" width=\"1660\" height=\"1145\" class=\"size-full wp-image-13929090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry.jpg 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/UntitledSession9651_Cherry-1536x1059.jpg 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">An example of Caitlyn Cherry’s previous work. \u003ccite>(Courtesy of the Wattis and The Hole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caitlin Cherry, ‘\u003ca href=\"https://wattis.org/our-program/on-view/caitlin-cherry\">The Regolith Was Boiling\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>CCA Wattis Institute for Contemporary Art, San Francisco\u003cbr>\nJune 1–July 29, 2023\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not often that we get to see paintings at the Wattis. Curated by former director Anthony Huberman, this solo show from the Mérida-based artist \u003ca href=\"https://www.instagram.com/the_underboobcommons/?hl=en\">Caitlin Cherry\u003c/a> will respond to the space with large-scale oil paintings and digital prints in an installation imagined as a single mural. Having multiple parts cohere into a whole befits Cherry’s painting style, which draws from image databases across the internet for pics of porn stars, Instagram models, drag queens, rappers and celebrities. In the artist’s hands, composite scenes are rendered in electric, solarized hues and Black femme figures are overlaid with psychedelic ripples of color. Expect maximalism, creative methods of display and a welcome retinal onslaught.\u003c/p>\n\u003cfigure id=\"attachment_13929096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg\" alt=\"Dark room with seated audience looking at wide corner of blue data-like lines on video screen\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13929096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GreatAnimalOrchestra_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">View of the exhibition ‘The Great Animal Orchestra’ at Fondation Cartier pour l’art contemporain, Paris, 2016.\u003cbr> \u003ccite>(© Bernie Krause / © UVA; Image © Luc Boegly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.exploratorium.edu/TGAO\">The Great Animal Orchestra\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>The Exploratorium (Pier 15, San Francisco)\u003cbr>\nJune 10–Oct. 15, 2023\u003c/i>\u003c/p>\n\u003cp>Sonoma County resident Bernie Krause has been collecting the sounds of the natural world for over 50 years, recording across North America, Latin America and sub-Saharan Africa, even dipping his microphone into the world’s oceans. In 2016, Fondation Cartier introduced Krause to United Visual Artists, a London-based collective, to create a video installation that kinetically depicts the sounds of seven different marine and terrestrial habitats. Howls, chirps, songs and clicks each tell a story of a vastly different place on this planet — a mesmerizing collective chorus that is sadly, and ever more rapidly, losing its members. \u003c/p>\n\u003cfigure id=\"attachment_13929091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg\" alt=\"Triptych of dynamic scene of various people in robes struggling against each other\" width=\"1920\" height=\"923\" class=\"size-full wp-image-13929091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-800x385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Memorial-portraits-of-actors-Nakamura-Utaemon-IV-Ichikawa-Danjuro-VIII-and-Bando-Shuka-II-1854_1920-1536x738.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorial portraits of actors Nakamura Utaemon IV, Ichikawa Danjuro VIII, and Bando Shuka II,’ 1854; Woodblock print, 14 3/4 x 30 1/2 inches. \u003ccite>(© 2023 Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://about.asianart.org/press/hell-arts-of-asian-underworlds/\">Hell: Arts of Asian Underworlds\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 16–Sept. 23, 2023\u003c/i>\u003c/p>\n\u003cp>You know you’re in for something special when an exhibition bears the tagline “800 Years of Torment.” This show gathers artworks from Buddhist, Hindu and Jain traditions created over nine centuries. In these elaborate and grotesque visions of the afterlife, humans hang over open flames, demons torture men and mice cower before despotic cats. (I knew it!) I predict it’ll be tough to drag people away from the twisted worlds depicted in these pieces, a real \u003ci>Where’s Waldo\u003c/i> in the underworld, if you will — so it’s a good thing this show stays up all summer. \u003c/p>\n\u003cfigure id=\"attachment_13929104\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg\" alt='Color photograph of back of Black boy leaning against a barricade that reads \"DO NOT CROSS\"' width=\"1500\" height=\"1019\" class=\"size-full wp-image-13929104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Gordon-Parks-Untitled-Harlem-New-York-1963-768x522.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1963; Archival pigment print. \u003ccite>(McEvoy Family Collection; Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.mcevoyarts.org/exhibition/what-are-words-worth/\">What are words worth?\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>McEvoy Foundation for the Arts, San Francisco\u003cbr>\nJune 16–Sept. 2, 2023\u003c/i>\u003c/p>\n\u003cp>Curated around ideas of language, journalism, literature and typography, this exhibition will be the final show for the McEvoy Foundation for the Arts, the Dogpatch nonprofit arts space that opened in 2017 and announced it’d be closing earlier this year. Since that first show, the MFA has put on nearly 100 exhibitions, film programs and events, including an incredible \u003ca href=\"https://www.kqed.org/arts/13888324/frederick-douglass-lessons-resound-in-the-contemporary-moment\">Isaac Julien installation\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13828542/dilexi-series-kqed-1969-mcevoy-foundation-for-the-arts\">program of experimental films\u003c/a> once shown on KQED, and a memorable screening of Jafar Panahi’s \u003ci>\u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\">The Mirror\u003c/a>\u003c/i> at the Roxie. There will be much more to say once this show puts its own words on the wall, but don’t miss a chance to say goodbye to a program that has created space for so many art experiences in its brief time.\u003c/p>\n\u003cfigure id=\"attachment_13929092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg\" alt=\"Painting of young woman in running outfit striding forward with coastal landscape behind her\" width=\"1920\" height=\"1119\" class=\"size-full wp-image-13929092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/YolandaLopez_SJMA-1536x895.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda López, ‘Runner: On My Own!’ from the series ‘¿A Dónde Vas, Chicana? Getting through College,’ 1977; Oil and acrylic on paper, 60 x 106 inches. \u003ccite>(Courtesy of the Yolanda López Legacy Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sjmusart.org/exhibition/yolanda-lopez-portrait-artist\">Yolanda López: Portrait of the Artist\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San José Museum of Art\u003cbr>\nJuly 7–Oct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>Just a month and a half after Yolanda López \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\">died in 2021\u003c/a>, the Museum of Contemporary Art, San Diego opened her first solo museum exhibition. Even though the Bay Area artist, activist and cultural worker was long ignored by the institutional art world, her work in oil pastel, paint, charcoal, collage and photography became Chicana feminist symbols and potent images of the Chicano civil rights movement. This SJMA show is a homecoming of sorts, bringing 50 of López’s iconic works together with material that speaks to the Bay Area’s impact on her life and career — and, in turn, her influence on the generations of artists in her orbit. \u003c/p>\n\u003cfigure id=\"attachment_13929131\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ChromeComp_1920.jpg\" alt=\"Composite of three images: a green bike sculpture, a complex painting with an animorph figure at center; a pink-lit disco ball over fake roses on a cushion\" width=\"1920\" height=\"780\" class=\"size-full wp-image-13929131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-800x325.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1020x414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-768x312.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ChromeComp_1920-1536x624.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: rafa esparza, ‘Corpo RanfLA: Terra Cruiser,’ 2022; Mario Ayala, ‘Reunion,’ 2021; Guadalupe Rosales, detail of ‘Drafting on a Memory (a dedication to Gypsy Rose),’ 2022. \u003ccite>(L to R: Courtesy the artist, photo by Fabian Guerrero; © Mario Ayala, courtesy the artist; Courtesy the artist, photo by Chad Redmon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfmoma.org/exhibition/sitting-on-chrome-mario-ayala-rafa-esparza-and-guadalupe-rosales/\">Sitting on Chrome: Mario Ayala, rafa esparza, and Guadalupe Rosales\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco Museum of Modern Art\u003cbr>\nAug. 5, 2023–Feb. 19, 2024\u003c/i>\u003c/p>\n\u003cp>While SFMOMA’s \u003ca href=\"https://www.sfmoma.org/free-admission-to-floor-2-galleries/\">free entry\u003c/a> to its second floor galleries ends May 29 (with the close of the \u003ca href=\"https://www.kqed.org/arts/13923804/2022-seca-art-award-exhibition-sfmoma-review\">SECA Award show\u003c/a>), the museum just announced a “\u003ca href=\"https://www.sfmoma.org/membership/working-artist-membership/\">Working Artist Membership\u003c/a>” that makes the cost of admission a little less staggering for artists planning to make multiple visits over the course of a year. And here’s a very good reason to do just that: a collaborative exhibition from Los Angeles-based artists \u003ca href=\"https://www.davidkordanskygallery.com/artist/mario-ayala\">Mario Ayala\u003c/a>, \u003ca href=\"https://www.instagram.com/elrafaesparza/?hl=en\">rafa esparza\u003c/a> and \u003ca href=\"https://www.veteranasandrucas.com/\">Guadalupe Rosales\u003c/a>. In a series of installations that include murals, paintings, sculptures, photographs, archival materials and sound, Ayala, esparza and Rosales use the visual language of lowriders to talk about cultural resistance and visibility in sparkling, pinstriped, sensational style.\u003c/p>\n\u003cfigure id=\"attachment_13929125\" class=\"wp-caption aligncenter\" style=\"max-width: 544px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg\" alt='A black circle with white text on concrete floor that reads \"SAFE BLACK SPACE\"' width=\"544\" height=\"725\" class=\"size-full wp-image-13929125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fred-Marque-DeWitt_Safe-Black-Space-160x213.jpg 160w\" sizes=\"(max-width: 544px) 100vw, 544px\">\u003cfigcaption class=\"wp-caption-text\">A vinyl floor sticker by Fred Marque DeWitt. \u003ccite>(Courtesy the artist and Berkeley Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rabbit Hole’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/\">Berkeley Art Center\u003c/a>\u003cbr>\nAug. 12–Sept. 23, 2023\u003c/i> \u003c/p>\n\u003cp>This group show curated by Adrianne Ramsey looks at the changes we’ve experienced when it comes to our understanding of space, especially after the shelter-in-place mandate eradicated the group gatherings that so often give us our strongest sense of community and self. Working across a variety of mediums, artists Danielle Luz Belanger, Fred Marquee DeWitt, Mark Harris, Courtney Desiree Morris, Arleene Correa Valencia and Connie Zheng will negotiate the yurt-like Berkeley Art Center — a strange and lovely space unto itself — to depict their own experiences of falling, like Alice, through the rabbit hole from “before” to now.\u003c/p>\n\u003cfigure id=\"attachment_13929094\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/PersonalSpace.jpg\" alt=\"Terra cotta roofed one-story building with big window and tile facade\" width=\"799\" height=\"600\" class=\"size-full wp-image-13929094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/PersonalSpace-768x577.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The forthcoming Vallejo project space dubbed Personal Space, expected to open this summer. \u003ccite>(Lisa Rybovich Crallé)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A great time to visit new spaces\u003c/h2>\n\u003cp>While \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">gallery closures\u003c/a> can be cause for hand-wringing, the Bay Area is full of people who simply cannot stop creating community-minded artistic projects. This summer, make it a priority to visit some of these more off-the-wall efforts.\u003c/p>\n\u003cp>For example: Why not swing through the Mission for a show at \u003cb>\u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a>\u003c/b>, nestled within Cushion Works (an active cushion factory) and alongside \u003ca href=\"https://www.cushionworks.info/\">\u003cb>Cushion Works\u003c/b>\u003c/a> (an alternative exhibition space)? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924661","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Just a few blocks south, you can catch up on \u003cb>\u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>\u003c/b>’s fishbowl-like space and have a nice chat with co-founder Cole Solinger. \u003c/p>\n\u003cp>In the Richmond District, be sure to carve out time to visit \u003cb>\u003ca href=\"https://staircase.place/\">Staircase\u003c/a>\u003c/b>, an apartment hallway turned graceful exhibition venue. \u003c/p>\n\u003cp>Before you leave San Francisco, drop by \u003cb>\u003ca href=\"http://lamofeta.xyz/\">La Mofeta\u003c/a>\u003c/b>, open all the time because it’s a 4-by-4-inch post sticking up out of a garage in Diamond Heights. \u003c/p>\n\u003cp>Later this summer — July, she says, maybe August — artist Lisa Rybovich Crallé will open \u003cb>\u003ca href=\"https://www.instagram.com/personal_________space/\">Personal Space\u003c/a>\u003c/b>, a storefront project space in Vallejo.\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>And last but not least, sign yourself up for the mailing list of \u003cb>\u003ca href=\"https://www.instagram.com/pointingrespectfully/\">Pointing Respectfully\u003c/a>\u003c/b>, sporadic, joy walks in local nature organized by Zoë Taleporos and Elizabeth Nicula.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929082/visual-art-summer-guide-2023-sf-bay-area","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2250","arts_10342","arts_2483","arts_10278","arts_3649","arts_1006","arts_6376","arts_2755","arts_1187","arts_1381","arts_20565","arts_585"],"featImg":"arts_13929092","label":"source_arts_13929082"},"arts_13897891":{"type":"posts","id":"arts_13897891","meta":{"index":"posts_1591205157","site":"arts","id":"13897891","score":null,"sort":[1622142054000]},"guestAuthors":[],"slug":"san-franciscos-exploratorium-unveils-lgbtq-themed-programming-for-pride-month","title":"San Francisco's Exploratorium Unveils LGBTQ+ Themed Programming For Pride Month","publishDate":1622142054,"format":"standard","headTitle":"San Francisco’s Exploratorium Unveils LGBTQ+ Themed Programming For Pride Month | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s \u003ca href=\"https://www.exploratorium.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> is celebrating Pride Month with three consecutive LGBTQ+ themed editions of its weekly After Dark Online events for adults. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first event, on June 3, features 500 Queer Scientists, a visibility campaign for LGBTQ+ people and their allies in STEM fields. 500 Queer Scientists founder Dr. Lauren Esposito will discuss a forthcoming exhibit that will focus on depicting the first-person stories of LGBTQ+ women and gender minorities of color in STEM professions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Dark will follow on June 10 with a program called Queering the Future, which centers queer activists in a discussion about climate change. On June 24, a Pride celebration honors San Francisco’s legacy and history of LGBTQ+ culture. All programming is free to view online on \u003ca href=\"https://www.youtube.com/exploratorium\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/exploratorium/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook Live\u003c/a>, and occurs from 7-8pm.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before COVID-19, Exploratorium After Dark happened every Thursday night, when the museum stayed open late for guests ages 18 and older. This Pride Month’s After Dark nights will be the last of over a year of virtual programming since the beginning of the pandemic, and the museum will \u003ca href=\"https://www.kqed.org/arts/13897118/the-exploratorium-gears-up-for-a-july-reopening\" target=\"_blank\" rel=\"noopener noreferrer\">return to in-person programming\u003c/a> in July. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Designed by the STARS internship team in collaboration with the Exploratorium’s public programming team, the After Dark Online events offered in June will center the perspectives and work of trans and queer people of color. The STARS internship (Striving for Trans-inclusion and Anti-Racism in Science learning) began at the Exploratorium in January, and included 13 queer and trans people ages 18-24. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The hours for After Dark will remain 7-8pm upon reopening, and the Exploratorium will require masks for all guests. The physical space has been reimagined with safety in mind; the museum now has hand sanitizing stations throughout, has expanded galleries to be more spacious, and has redesigned its program to favor small group activities. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The online events for After Dark can be viewed for free on the \u003c/span>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark\">\u003cspan style=\"font-weight: 400\">Exploratorium website\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"The Exploratorium is celebrating Pride with three LGBTQ+ themed editions of its weekly After Dark Online events for adults. ","status":"publish","parent":0,"modified":1705008307,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":337},"headData":{"title":"San Francisco's Exploratorium Unveils LGBTQ+ Themed Programming For Pride Month | KQED","description":"The Exploratorium is celebrating Pride with three LGBTQ+ themed editions of its weekly After Dark Online events for adults. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco's Exploratorium Unveils LGBTQ+ Themed Programming For Pride Month","datePublished":"2021-05-27T19:00:54.000Z","dateModified":"2024-01-11T21:25:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897891/san-franciscos-exploratorium-unveils-lgbtq-themed-programming-for-pride-month","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s \u003ca href=\"https://www.exploratorium.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> is celebrating Pride Month with three consecutive LGBTQ+ themed editions of its weekly After Dark Online events for adults. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first event, on June 3, features 500 Queer Scientists, a visibility campaign for LGBTQ+ people and their allies in STEM fields. 500 Queer Scientists founder Dr. Lauren Esposito will discuss a forthcoming exhibit that will focus on depicting the first-person stories of LGBTQ+ women and gender minorities of color in STEM professions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Dark will follow on June 10 with a program called Queering the Future, which centers queer activists in a discussion about climate change. On June 24, a Pride celebration honors San Francisco’s legacy and history of LGBTQ+ culture. All programming is free to view online on \u003ca href=\"https://www.youtube.com/exploratorium\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/exploratorium/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook Live\u003c/a>, and occurs from 7-8pm.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before COVID-19, Exploratorium After Dark happened every Thursday night, when the museum stayed open late for guests ages 18 and older. This Pride Month’s After Dark nights will be the last of over a year of virtual programming since the beginning of the pandemic, and the museum will \u003ca href=\"https://www.kqed.org/arts/13897118/the-exploratorium-gears-up-for-a-july-reopening\" target=\"_blank\" rel=\"noopener noreferrer\">return to in-person programming\u003c/a> in July. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Designed by the STARS internship team in collaboration with the Exploratorium’s public programming team, the After Dark Online events offered in June will center the perspectives and work of trans and queer people of color. The STARS internship (Striving for Trans-inclusion and Anti-Racism in Science learning) began at the Exploratorium in January, and included 13 queer and trans people ages 18-24. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">The hours for After Dark will remain 7-8pm upon reopening, and the Exploratorium will require masks for all guests. The physical space has been reimagined with safety in mind; the museum now has hand sanitizing stations throughout, has expanded galleries to be more spacious, and has redesigned its program to favor small group activities. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The online events for After Dark can be viewed for free on the \u003c/span>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark\">\u003cspan style=\"font-weight: 400\">Exploratorium website\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897891/san-franciscos-exploratorium-unveils-lgbtq-themed-programming-for-pride-month","authors":["11734"],"categories":["arts_1"],"tags":["arts_2483","arts_10278","arts_3226","arts_5158","arts_585"],"featImg":"arts_13897895","label":"arts"},"arts_13897118":{"type":"posts","id":"arts_13897118","meta":{"index":"posts_1591205157","site":"arts","id":"13897118","score":null,"sort":[1620931559000]},"guestAuthors":[],"slug":"the-exploratorium-gears-up-for-a-july-reopening","title":"The Exploratorium Gears Up for a July Reopening","publishDate":1620931559,"format":"standard","headTitle":"The Exploratorium Gears Up for a July Reopening | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.exploratorium.edu\" target=\"_blank\" rel=\"noopener noreferrer\">The Exploratorium\u003c/a> was one of the first museums to close when the COVID-19 crisis shut down the arts in the Bay Area last year. Fifteen months later, the museum of science, art and human perception has announced its return. It will reopen to the public on July 1, with a special preview for members June 24–27, timed tickets and capacity managed in accordance with public health guidelines.\u003c/p>\n\u003cp>Hundreds of exhibits such as the living-wall terrarium, the anti-gravity mirror and the \u003cem>Library of Earth Anatomy\u003c/em> will be on view. \u003cem>Aperture Lucida\u003c/em>, an optical illusion installation by artist-in-residence Tristan Duke, will also be available; it opened to the public just three weeks before the museum shut down last year.\u003c/p>\n\u003cp>The Tactile Dome, which invites museum-goers to feel their way through a pitch-dark, textured environment, will remain closed for the time being. Throughout the rest of the museum, sanitation stations will be available, and there will be an expanded outdoor gallery and seating areas that invite viewers to reflect on the effects of the pandemic.\u003c/p>\n\u003cp>The Exploratorium will be open Wednesdays through Sundays starting July 1, and it will also resume its popular adults-only program, After Dark, every Thursday evening 6–10pm. \u003ca href=\"http://www.exploratorium.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"San Francisco’s museum of science, art and human perception is getting ready to welcome visitors back after a 15-month closure.","status":"publish","parent":0,"modified":1705008385,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":214},"headData":{"title":"The Exploratorium Gears Up for a July Reopening | KQED","description":"San Francisco’s museum of science, art and human perception is getting ready to welcome visitors back after a 15-month closure.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Exploratorium Gears Up for a July Reopening","datePublished":"2021-05-13T18:45:59.000Z","dateModified":"2024-01-11T21:26:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897118/the-exploratorium-gears-up-for-a-july-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.exploratorium.edu\" target=\"_blank\" rel=\"noopener noreferrer\">The Exploratorium\u003c/a> was one of the first museums to close when the COVID-19 crisis shut down the arts in the Bay Area last year. Fifteen months later, the museum of science, art and human perception has announced its return. It will reopen to the public on July 1, with a special preview for members June 24–27, timed tickets and capacity managed in accordance with public health guidelines.\u003c/p>\n\u003cp>Hundreds of exhibits such as the living-wall terrarium, the anti-gravity mirror and the \u003cem>Library of Earth Anatomy\u003c/em> will be on view. \u003cem>Aperture Lucida\u003c/em>, an optical illusion installation by artist-in-residence Tristan Duke, will also be available; it opened to the public just three weeks before the museum shut down last year.\u003c/p>\n\u003cp>The Tactile Dome, which invites museum-goers to feel their way through a pitch-dark, textured environment, will remain closed for the time being. Throughout the rest of the museum, sanitation stations will be available, and there will be an expanded outdoor gallery and seating areas that invite viewers to reflect on the effects of the pandemic.\u003c/p>\n\u003cp>The Exploratorium will be open Wednesdays through Sundays starting July 1, and it will also resume its popular adults-only program, After Dark, every Thursday evening 6–10pm. \u003ca href=\"http://www.exploratorium.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Details 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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897118/the-exploratorium-gears-up-for-a-july-reopening","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_2483","arts_10278","arts_10902","arts_585"],"featImg":"arts_13897131","label":"arts_140"},"arts_13880474":{"type":"posts","id":"arts_13880474","meta":{"index":"posts_1591205157","site":"arts","id":"13880474","score":null,"sort":[1589488079000]},"guestAuthors":[],"slug":"newsom-proposes-cutting-california-arts-council-exploratorium-funding","title":"Newsom Proposes Cutting California Arts Council, Exploratorium Funding","publishDate":1589488079,"format":"standard","headTitle":"Newsom Proposes Cutting California Arts Council, Exploratorium Funding | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Gov. Gavin Newsom’s proposed budget, released Thursday, cuts $10.5 million from the California Arts Council and $3.5 million from the Exploratorium in San Francisco to help close the state’s $54 billion budget deficit. \u003c/p>\n\u003cp>The cuts withdraw $10.5 million in one-time arts council funding proposed in January. Arts council leadership anticipated cuts affecting its cultural district programs, KQED \u003ca href=\"https://www.kqed.org/arts/13879146/in-oakland-plunging-hotel-tax-revenue-threatens-to-gut-arts-funding\">previously reported\u003c/a>. The agency this year distributed $35 million in grants to artists and nonprofits. \u003c/p>\n\u003cp>The proposal also cuts $3.5 million in funding for the Exploratorium, the waterfront museum of science, art and human perception, as part of deeper reductions to public education. The Exploratorium in April \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\">announced layoffs\u003c/a> and hours reductions affecting 85 percent of workers as it faces quarterly losses of some $5 million in revenue. \u003c/p>\n\u003cp>The reductions, Newsom’s proposal stresses, will be “triggered off,” or reversed, if the federal government provides sufficient funding to restore them. \u003cem>— Sam Lefebvre (\u003ca href=\"https://twitter.com/Lefebvre_Sam\">@Lefebvre_Sam\u003c/a>)\u003c/em>\u003c/p>\n","blocks":[],"excerpt":"The reductions, Newsom's proposal stresses, will be reversed if the federal government provides funding.","status":"publish","parent":0,"modified":1705020741,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":158},"headData":{"title":"Newsom Proposes Cutting California Arts Council, Exploratorium Funding | KQED","description":"The reductions, Newsom's proposal stresses, will be reversed if the federal government provides funding.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Newsom Proposes Cutting California Arts Council, Exploratorium Funding","datePublished":"2020-05-14T20:27:59.000Z","dateModified":"2024-01-12T00:52:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","justInHeadline":"Newsom proposes cuts in funding for Exploratorium, California Arts Council","path":"/arts/13880474/newsom-proposes-cutting-california-arts-council-exploratorium-funding","redirect":{"type":"internal","url":"/coronavirusliveupdates/arts/13880474/newsom-proposes-cutting-california-arts-council-exploratorium-funding"},"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gov. Gavin Newsom’s proposed budget, released Thursday, cuts $10.5 million from the California Arts Council and $3.5 million from the Exploratorium in San Francisco to help close the state’s $54 billion budget deficit. \u003c/p>\n\u003cp>The cuts withdraw $10.5 million in one-time arts council funding proposed in January. Arts council leadership anticipated cuts affecting its cultural district programs, KQED \u003ca href=\"https://www.kqed.org/arts/13879146/in-oakland-plunging-hotel-tax-revenue-threatens-to-gut-arts-funding\">previously reported\u003c/a>. The agency this year distributed $35 million in grants to artists and nonprofits. \u003c/p>\n\u003cp>The proposal also cuts $3.5 million in funding for the Exploratorium, the waterfront museum of science, art and human perception, as part of deeper reductions to public education. The Exploratorium in April \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\">announced layoffs\u003c/a> and hours reductions affecting 85 percent of workers as it faces quarterly losses of some $5 million in revenue. \u003c/p>\n\u003cp>The reductions, Newsom’s proposal stresses, will be “triggered off,” or reversed, if the federal government provides sufficient funding to restore them. \u003cem>— Sam Lefebvre (\u003ca href=\"https://twitter.com/Lefebvre_Sam\">@Lefebvre_Sam\u003c/a>)\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/coronavirusliveupdates/arts/13880474/newsom-proposes-cutting-california-arts-council-exploratorium-funding","authors":["11091"],"categories":["arts_1","arts_10797"],"tags":["arts_4837","arts_10796","arts_2483","arts_10328","arts_10651"],"featImg":"arts_13879216","label":"arts"},"arts_13877959":{"type":"posts","id":"arts_13877959","meta":{"index":"posts_1591205157","site":"arts","id":"13877959","score":null,"sort":[1585768853000]},"guestAuthors":[],"slug":"hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf","title":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF","publishDate":1585768853,"format":"standard","headTitle":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The latest local arts organization to announce workforce cutbacks during mandatory shutdown is the \u003ca href=\"https://www.exploratorium.edu/\">Exploratorium\u003c/a>, San Francisco’s waterfront museum of science, art and human perception.\u003c/p>\n\u003cp>On Tuesday, museum leadership announced layoffs and hours reductions affecting some 85 percent of employees, an Exploratorium staff member confirmed. The cuts include salary reductions for nearly 250 employees, with half of them reduced to minimum hours; hours suspensions for 150 on-call event staff; and layoffs of more than 100 part-time student workers.\u003c/p>\n\u003cp>Revenue is down 80 percent since the Exploratorium closed on March 12, and the museum faces an estimated $5 million in quarterly losses. Museums throughout the region are shuttered in accordance with local and statewide orders to stem the spread of the novel coronavirus.\u003c/p>\n\u003cp>“The COVID-19 pandemic is threatening the Exploratorium much more than anything we have faced in our first half-century,” Chris Flink, director and chief executive of the Exploratorium, said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>, which \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/at-exploratorium-layoffs-furloughs-to-affect-85-of-staff\">first reported\u003c/a> the cutbacks on Tuesday.\u003c/p>\n\u003cp>Laid off employees will be eligible for rehire when the Exploratorium reopens. Museum leadership expects to reopen July 1. In the interim, employees who previously had health benefits will retain them. Leadership figures including Flink are also taking pay reductions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Chronicle\u003c/em> also quoted Kate O’Donnell, SEIU 1021 chapter president for the Exploratorium, saying the union appreciates “management’s shared values of protecting our employees and their health benefits” and the “commitment to share job reduction burdens across the museum.”\u003c/p>\n\u003cp>The Exploratorium’s revenue for the fiscal year ending in 2018 was $51.5 million, according to its most recent available tax return. It has a $60 million endowment, according to its website.\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art last week announced \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">layoffs and furloughs\u003c/a> affecting more than 300 staff, and Museum of the African Diaspora has \u003ca href=\"https://www.kqed.org/arts/13877907/layoffs-hit-museum-of-the-african-diaspora-in-san-francisco\">laid off\u003c/a> seven of 18 employees.\u003c/p>\n\u003cp>A San Francisco Arts Alliance \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey found\u003c/a> 145 local arts organizations anticipate losing as much as $73 million if the coronavirus crisis proceeds through summer. 28 percent of them were contemplating layoffs as of March 20. Most have reduced or suspended contractor hours.\u003c/p>\n\u003cp>The City of San Francisco last month \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">pledged $2.5 million\u003c/a> to a relief fund providing grants and low-interest loans to artists and arts organizations economically impacted by coronavirus, joining a \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">growing number\u003c/a> of fundraising efforts similarly aimed at supporting the cultural sector.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The $2 trillion federal aid package signed into law last week includes $75 million each for the National Endowment for the Arts and National Endowment for the Humanities. 40 percent of the funds are for state partners including California Humanities and the California Arts Council.\u003c/p>\n\n","blocks":[],"excerpt":"Revenue is down 80 percent since the Exploratorium closed on March 12. ","status":"publish","parent":0,"modified":1705020970,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":459},"headData":{"title":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF | KQED","description":"Revenue is down 80 percent since the Exploratorium closed on March 12. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF","datePublished":"2020-04-01T19:20:53.000Z","dateModified":"2024-01-12T00:56:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest local arts organization to announce workforce cutbacks during mandatory shutdown is the \u003ca href=\"https://www.exploratorium.edu/\">Exploratorium\u003c/a>, San Francisco’s waterfront museum of science, art and human perception.\u003c/p>\n\u003cp>On Tuesday, museum leadership announced layoffs and hours reductions affecting some 85 percent of employees, an Exploratorium staff member confirmed. The cuts include salary reductions for nearly 250 employees, with half of them reduced to minimum hours; hours suspensions for 150 on-call event staff; and layoffs of more than 100 part-time student workers.\u003c/p>\n\u003cp>Revenue is down 80 percent since the Exploratorium closed on March 12, and the museum faces an estimated $5 million in quarterly losses. Museums throughout the region are shuttered in accordance with local and statewide orders to stem the spread of the novel coronavirus.\u003c/p>\n\u003cp>“The COVID-19 pandemic is threatening the Exploratorium much more than anything we have faced in our first half-century,” Chris Flink, director and chief executive of the Exploratorium, said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>, which \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/at-exploratorium-layoffs-furloughs-to-affect-85-of-staff\">first reported\u003c/a> the cutbacks on Tuesday.\u003c/p>\n\u003cp>Laid off employees will be eligible for rehire when the Exploratorium reopens. Museum leadership expects to reopen July 1. In the interim, employees who previously had health benefits will retain them. Leadership figures including Flink are also taking pay reductions.\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 \u003cem>Chronicle\u003c/em> also quoted Kate O’Donnell, SEIU 1021 chapter president for the Exploratorium, saying the union appreciates “management’s shared values of protecting our employees and their health benefits” and the “commitment to share job reduction burdens across the museum.”\u003c/p>\n\u003cp>The Exploratorium’s revenue for the fiscal year ending in 2018 was $51.5 million, according to its most recent available tax return. It has a $60 million endowment, according to its website.\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art last week announced \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">layoffs and furloughs\u003c/a> affecting more than 300 staff, and Museum of the African Diaspora has \u003ca href=\"https://www.kqed.org/arts/13877907/layoffs-hit-museum-of-the-african-diaspora-in-san-francisco\">laid off\u003c/a> seven of 18 employees.\u003c/p>\n\u003cp>A San Francisco Arts Alliance \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey found\u003c/a> 145 local arts organizations anticipate losing as much as $73 million if the coronavirus crisis proceeds through summer. 28 percent of them were contemplating layoffs as of March 20. Most have reduced or suspended contractor hours.\u003c/p>\n\u003cp>The City of San Francisco last month \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">pledged $2.5 million\u003c/a> to a relief fund providing grants and low-interest loans to artists and arts organizations economically impacted by coronavirus, joining a \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">growing number\u003c/a> of fundraising efforts similarly aimed at supporting the cultural sector.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The $2 trillion federal aid package signed into law last week includes $75 million each for the National Endowment for the Arts and National Endowment for the Humanities. 40 percent of the funds are for state partners including California Humanities and the California Arts Council.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf","authors":["11091"],"categories":["arts_235","arts_70"],"tags":["arts_10126","arts_2483","arts_10278","arts_7736","arts_1987","arts_746","arts_596","arts_1434"],"featImg":"arts_13877962","label":"arts"},"arts_13869891":{"type":"posts","id":"arts_13869891","meta":{"index":"posts_1591205157","site":"arts","id":"13869891","score":null,"sort":[1574104690000]},"guestAuthors":[],"slug":"watch-the-exploratorium-light-up-the-night-at-after-dark-glow","title":"Watch the Exploratorium Light Up the Night at 'After Dark: Glow'","publishDate":1574104690,"format":"standard","headTitle":"Watch the Exploratorium Light Up the Night at ‘After Dark: Glow’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Ever have that moment at the \u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> where you want all the kids to get out of the way so you can play with the exhibits in peace? We all have! That’s why the “public learning laboratory” hosts \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark?gclid=EAIaIQobChMIqtLOuOHq5QIVyR-tBh14DwXUEAAYASAAEgLhIPD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">After Dark\u003c/a> events for big kids, 18 and older, every Thursday night.\u003c/p>\n\u003cp>One of the high points on After Dark’s annual calendar is \u003cem>Glow\u003c/em>, an exhibit of light installations, luminescent sculptures and interactive activities that’ll make you feel positively incandescent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZkyCpVksWw0\u003c/p>\n\u003cp>As usual for the Exploratorium, there will be plenty of creative ways to explore space, structure and sound from new perspectives. And, as is the case for all After Dark events, there will be food, drink and demonstrations throughout the evening that run the gamut from large-scale art creation, through magic shows, all the way to eye dissection.\u003c/p>\n\u003cp>Plenty of light shows pop up during the festive season, but the vast majority are simply about admiring from afar. \u003cem>Glow\u003c/em> offers an experience so immersive, it won’t just illuminate your holidays—it might just make you feel like you’re inside the tree.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'Glow,' with its light installations and interactive playthings, offers a feast for the senses.","status":"publish","parent":0,"modified":1705021813,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":202},"headData":{"title":"Watch the Exploratorium Light Up the Night at 'After Dark: Glow' | KQED","description":"'Glow,' with its light installations and interactive playthings, offers a feast for the senses.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch the Exploratorium Light Up the Night at 'After Dark: Glow'","datePublished":"2019-11-18T19:18:10.000Z","dateModified":"2024-01-12T01:10:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1575597600,"endTime":1580104800,"startTimeString":"Dec. 5, 2019-Jan. 26, 2020","venueName":"Exploratorium","venueAddress":"Pier 15 (Embarcadero at Green St), San Francisco, CA 94111","eventLink":"https://www.exploratorium.edu/glow","path":"/arts/13869891/watch-the-exploratorium-light-up-the-night-at-after-dark-glow","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever have that moment at the \u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> where you want all the kids to get out of the way so you can play with the exhibits in peace? We all have! That’s why the “public learning laboratory” hosts \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark?gclid=EAIaIQobChMIqtLOuOHq5QIVyR-tBh14DwXUEAAYASAAEgLhIPD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">After Dark\u003c/a> events for big kids, 18 and older, every Thursday night.\u003c/p>\n\u003cp>One of the high points on After Dark’s annual calendar is \u003cem>Glow\u003c/em>, an exhibit of light installations, luminescent sculptures and interactive activities that’ll make you feel positively incandescent.\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/ZkyCpVksWw0'\n title='//www.youtube.com/embed/ZkyCpVksWw0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As usual for the Exploratorium, there will be plenty of creative ways to explore space, structure and sound from new perspectives. And, as is the case for all After Dark events, there will be food, drink and demonstrations throughout the evening that run the gamut from large-scale art creation, through magic shows, all the way to eye dissection.\u003c/p>\n\u003cp>Plenty of light shows pop up during the festive season, but the vast majority are simply about admiring from afar. \u003cem>Glow\u003c/em> offers an experience so immersive, it won’t just illuminate your holidays—it might just make you feel like you’re inside the tree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869891/watch-the-exploratorium-light-up-the-night-at-after-dark-glow","authors":["11242"],"programs":["arts_140"],"categories":["arts_835","arts_70"],"tags":["arts_2483","arts_3247"],"featImg":"arts_13869904","label":"arts_140"},"arts_13846205":{"type":"posts","id":"arts_13846205","meta":{"index":"posts_1591205157","site":"arts","id":"13846205","score":null,"sort":[1543885202000]},"guestAuthors":[],"slug":"now-playing-curious-films-for-curious-children-at-exploratorium","title":"Now Playing! At Exploratorium, Curious Films for Curious Children and Adults","publishDate":1543885202,"format":"standard","headTitle":"Now Playing! At Exploratorium, Curious Films for Curious Children and Adults | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The signifiers of the season, for better or worse, include an onslaught of ads for holiday movies—as anyone with a television is aware. Hollywood is aiming to win children’s hearts and minds with a yellow, anthropomorphic Hasbro toy and the sugar-spun homilies of Mary Poppins. Is there any place, a parent might ask, that conjures the spell of wonderment without the artificial enhancements of special effects and product placements?\u003c/p>\n\u003cp>The current Exploratorium exhibit, \u003ca href=\"https://www.exploratorium.edu/curious-contraptions\" rel=\"noopener\" target=\"_blank\">Curious Contraptions: Inside the Fairy Tale Factory\u003c/a> (on view through Jan. 20), displays a jaw-dropping collection of automata—that is, one-of-a-kind, handmade mechanical geegaws. Devised, designed and constructed by people whose talents encompass toy-making, puppeteering, sculpting and recycling, each piece achieves a kind of pinnacle of electricity-free art, inventiveness and interactivity. (If, like me, you need an image to fully grasp the concept, check out the delightful short video at the link above.) \u003c/p>\n\u003cfigure id=\"attachment_13846260\" class=\"wp-caption aligncenter\" style=\"max-width: 1419px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Dot_4.png\" alt=\"Sumo Science, Still from 'Dot,' 2010.\" width=\"1419\" height=\"800\" class=\"size-full wp-image-13846260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4.png 1419w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-1200x677.png 1200w\" sizes=\"(max-width: 1419px) 100vw, 1419px\">\u003cfigcaption class=\"wp-caption-text\">Sumo Science, Still from ‘Dot,’ 2010. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can readily see how automata are catnip for children of all ages, but especially for those who take their egg nog straight, no chaser. As a bonus, the Exploratorium has curated a Saturday Cinema program of very short films, \u003ca href=\"https://www.exploratorium.edu/visit/calendar/saturday-cinema-curious-creations-12-8-18\" rel=\"noopener\" target=\"_blank\">Curious Creations\u003c/a>, that provides a visual venture into other realms of automata as well as a sit-down break from the hands-on exhibit.\u003c/p>\n\u003cp>The films (which screen Dec. 8 and again on Jan. 12) traverse the mind-blowing breadth of human ingenuity, including chain-reaction machines rigged for a Japanese children’s TV show, kinetic sculptor Arthur Ganson’s whimsical mechanisms, and a solar-powered contraption built in the 1950s by Charles and Ray Eames. If there’s a “product placement” for an Eames chair in that last one—and I’m not saying there is—would you complain?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Is there a venue this holiday season that conjures the spell of wonderment without special effects, sugar-spun homilies and product placements?","status":"publish","parent":0,"modified":1705026928,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":320},"headData":{"title":"Now Playing! At Exploratorium, Curious Films for Curious Children and Adults | KQED","description":"Is there a venue this holiday season that conjures the spell of wonderment without special effects, sugar-spun homilies and product placements?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! At Exploratorium, Curious Films for Curious Children and Adults","datePublished":"2018-12-04T01:00:02.000Z","dateModified":"2024-01-12T02:35:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846205/now-playing-curious-films-for-curious-children-at-exploratorium","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The signifiers of the season, for better or worse, include an onslaught of ads for holiday movies—as anyone with a television is aware. Hollywood is aiming to win children’s hearts and minds with a yellow, anthropomorphic Hasbro toy and the sugar-spun homilies of Mary Poppins. Is there any place, a parent might ask, that conjures the spell of wonderment without the artificial enhancements of special effects and product placements?\u003c/p>\n\u003cp>The current Exploratorium exhibit, \u003ca href=\"https://www.exploratorium.edu/curious-contraptions\" rel=\"noopener\" target=\"_blank\">Curious Contraptions: Inside the Fairy Tale Factory\u003c/a> (on view through Jan. 20), displays a jaw-dropping collection of automata—that is, one-of-a-kind, handmade mechanical geegaws. Devised, designed and constructed by people whose talents encompass toy-making, puppeteering, sculpting and recycling, each piece achieves a kind of pinnacle of electricity-free art, inventiveness and interactivity. (If, like me, you need an image to fully grasp the concept, check out the delightful short video at the link above.) \u003c/p>\n\u003cfigure id=\"attachment_13846260\" class=\"wp-caption aligncenter\" style=\"max-width: 1419px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Dot_4.png\" alt=\"Sumo Science, Still from 'Dot,' 2010.\" width=\"1419\" height=\"800\" class=\"size-full wp-image-13846260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4.png 1419w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-1200x677.png 1200w\" sizes=\"(max-width: 1419px) 100vw, 1419px\">\u003cfigcaption class=\"wp-caption-text\">Sumo Science, Still from ‘Dot,’ 2010. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can readily see how automata are catnip for children of all ages, but especially for those who take their egg nog straight, no chaser. As a bonus, the Exploratorium has curated a Saturday Cinema program of very short films, \u003ca href=\"https://www.exploratorium.edu/visit/calendar/saturday-cinema-curious-creations-12-8-18\" rel=\"noopener\" target=\"_blank\">Curious Creations\u003c/a>, that provides a visual venture into other realms of automata as well as a sit-down break from the hands-on exhibit.\u003c/p>\n\u003cp>The films (which screen Dec. 8 and again on Jan. 12) traverse the mind-blowing breadth of human ingenuity, including chain-reaction machines rigged for a Japanese children’s TV show, kinetic sculptor Arthur Ganson’s whimsical mechanisms, and a solar-powered contraption built in the 1950s by Charles and Ray Eames. If there’s a “product placement” for an Eames chair in that last one—and I’m not saying there is—would you complain?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846205/now-playing-curious-films-for-curious-children-at-exploratorium","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_2483","arts_1118","arts_1006","arts_1690","arts_596","arts_1334"],"featImg":"arts_13846262","label":"arts_140"},"arts_13834755":{"type":"posts","id":"arts_13834755","meta":{"index":"posts_1591205157","site":"arts","id":"13834755","score":null,"sort":[1528743621000]},"guestAuthors":[],"slug":"now-playing-at-the-exploratorium-a-look-behind-the-filmmaking-curtain","title":"Now Playing! At the Exploratorium, A Look Behind the Filmmaking Curtain","publishDate":1528743621,"format":"standard","headTitle":"Now Playing! At the Exploratorium, A Look Behind the Filmmaking Curtain | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The ineffable mystery of inspiration. The combustible magic of collaboration. The accomplished hand of craft. Intuition as a guiding light. Improvisation as an essential skill. Which of those elements of creativity intrigue you the most? Some people are perfectly satisfied with the experience of watching a movie and require no further elucidation, but most want a look behind the curtain at the process of filmmaking.\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark/june-14-2018\" rel=\"noopener\" target=\"_blank\">Trick of the Hand\u003c/a> (Thursday, June 14 at the Exploratorium), a rarefied program of screenings by and conversation between Australian experimental filmmaker Richard Tuohy and Angeleno and Exploratorium artist-in-residence Tristan Duke, promises insights into the use of physical materials–notably photo-chemicals and self-made cameras–to produce art. Their work evokes words like “analog” and “artisan,” which is to say their films are produced by hand rather than with the aid of computer chips.\u003c/p>\n\u003cfigure id=\"attachment_13834771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/IMG_9369_1200.jpg\" alt=\"Optics Division, 'Liminal Camera.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13834771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Optics Division, ‘Liminal Camera.’ \u003ccite>(Courtesy of Optics Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For an even deeper dive, join Tuohy and Dianna Barrie on Saturday for a hands-on workshop in “bipacking,” a technique by which a layer of color is added to black-and-white 16mm film. The workshop comprises just one component of \u003ca href=\"https://www.exploratorium.edu/visit/calendar/lightplay-festival-of-light\" rel=\"noopener\" target=\"_blank\">Lightplay: Festival of Light\u003c/a> (June 16 at the Exploratorium), an all-day immersion into the ethereal relationship between photo-chemicals and perception. \u003c/p>\n\u003cp>Duke and his cohorts reveal the secrets of their Liminal Cinema, a mobile, truck-mounted shipping container outfitted to shoot and develop large-form photographs (reminiscent of Agnes Varda and JR’s process and pictures documented in last year’s \u003cem>Faces Places\u003c/em>). The day-long immersion into the intersection of art and science concludes with Barrie and Tuohy’s dual-projector \u003cem>Dot Matrix\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Australian Richard Tuohy and Angeleno Tristan Duke provide a look behind the curtain at the process of analog filmmaking.","status":"publish","parent":0,"modified":1705027663,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":292},"headData":{"title":"Now Playing! At the Exploratorium, A Look Behind the Filmmaking Curtain | KQED","description":"Australian Richard Tuohy and Angeleno Tristan Duke provide a look behind the curtain at the process of analog filmmaking.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! At the Exploratorium, A Look Behind the Filmmaking Curtain","datePublished":"2018-06-11T19:00:21.000Z","dateModified":"2024-01-12T02:47:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13834755/now-playing-at-the-exploratorium-a-look-behind-the-filmmaking-curtain","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ineffable mystery of inspiration. The combustible magic of collaboration. The accomplished hand of craft. Intuition as a guiding light. Improvisation as an essential skill. Which of those elements of creativity intrigue you the most? Some people are perfectly satisfied with the experience of watching a movie and require no further elucidation, but most want a look behind the curtain at the process of filmmaking.\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark/june-14-2018\" rel=\"noopener\" target=\"_blank\">Trick of the Hand\u003c/a> (Thursday, June 14 at the Exploratorium), a rarefied program of screenings by and conversation between Australian experimental filmmaker Richard Tuohy and Angeleno and Exploratorium artist-in-residence Tristan Duke, promises insights into the use of physical materials–notably photo-chemicals and self-made cameras–to produce art. Their work evokes words like “analog” and “artisan,” which is to say their films are produced by hand rather than with the aid of computer chips.\u003c/p>\n\u003cfigure id=\"attachment_13834771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/IMG_9369_1200.jpg\" alt=\"Optics Division, 'Liminal Camera.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13834771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/IMG_9369_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Optics Division, ‘Liminal Camera.’ \u003ccite>(Courtesy of Optics Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For an even deeper dive, join Tuohy and Dianna Barrie on Saturday for a hands-on workshop in “bipacking,” a technique by which a layer of color is added to black-and-white 16mm film. The workshop comprises just one component of \u003ca href=\"https://www.exploratorium.edu/visit/calendar/lightplay-festival-of-light\" rel=\"noopener\" target=\"_blank\">Lightplay: Festival of Light\u003c/a> (June 16 at the Exploratorium), an all-day immersion into the ethereal relationship between photo-chemicals and perception. \u003c/p>\n\u003cp>Duke and his cohorts reveal the secrets of their Liminal Cinema, a mobile, truck-mounted shipping container outfitted to shoot and develop large-form photographs (reminiscent of Agnes Varda and JR’s process and pictures documented in last year’s \u003cem>Faces Places\u003c/em>). The day-long immersion into the intersection of art and science concludes with Barrie and Tuohy’s dual-projector \u003cem>Dot Matrix\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13834755/now-playing-at-the-exploratorium-a-look-behind-the-filmmaking-curtain","authors":["22"],"categories":["arts_74"],"tags":["arts_2483","arts_1118","arts_1006","arts_596"],"featImg":"arts_13834770","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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