The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up
Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her
Oakland Artist Hung Liu Passes Away Ahead of Major National Portrait Gallery Show
'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond
Portraits of an Immigrant-Filled Nation at Walter Maciel Gallery
New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures
Exploring Freedom and Confinement on Alcatraz
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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. 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She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>","avatar":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twitter":"chloeveltman","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Chloe Veltman | KQED","description":"Arts and Culture 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FM","link":"/"}},"arts_13905629":{"type":"posts","id":"arts_13905629","meta":{"index":"posts_1591205157","site":"arts","id":"13905629","score":null,"sort":[1635879324000]},"guestAuthors":[],"slug":"oakland-adrian-arias-honors-bay-area-artists-at-somarts-and-mission-cultural-center-day-of-the-dead","title":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up","publishDate":1635879324,"format":"audio","headTitle":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>At the \u003ca href=\"https://missionculturalcenter.org/day-of-the-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Cultural Center for Latino Arts\u003c/a> in San Francisco, Oakland-based artist \u003ca href=\"http://adrianarias.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Arias\u003c/a> stands in front of an altar he created to memorialize Bay Area visual artist \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López\u003c/a>, who died in September of cancer.\u003c/p>\n\u003cp>The elaborate assemblage of objects from López’s life features tubes of paint, brushes, furniture and clothes framing Arias’ feathery painted portrait of López wearing a sweeping pair of wings.\u003c/p>\n\u003cp>“She was a friend, a mentor, and one of the most important Chicano artists,” Arias says. “She was an inspiration for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13905682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Arias’s altar to Bay Area artist Yolanda López at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This altar is one of several memorials Arias has created this year for Día de los Muertos (Day of the Dead) in honor of Bay Area artists who died in 2021.\u003c/p>\n\u003cp>[aside postID='arts_13903264']With its roots in Mexico, Day of the Dead is now observed across Latin America and the United States, and honors loved ones who have died. One of the main traditions is making elaborate memorial altars featuring candles, photographs, the deceased’s possessions, and candy skulls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the altars on view at the Mission Cultural Center—which serves as a kind of “ground zero” for the holiday in San Francisco—are not focused on artists. But altars dedicated specifically to memorializing artists have been a particular focus at the center over the years.\u003c/p>\n\u003cp>“This being a cultural and artistic center, we particularly think that this should be the place where we honor artists,” says Jennie Rodriguez, the center’s executive director.\u003c/p>\n\u003cfigure id=\"attachment_13905683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main altar at Mission Cultural Center for Latino Arts, by the Bay Area artist collective Manos Creativas, riffs on many symbols associated with Dia de los Muertos, rather than on memorializing a specific artists. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bridge Between the Dead and the Living\u003c/h2>\n\u003cp>The theme and title of this year’s Day of the Dead celebration (the Mission Cultural Center’s 35th), is \u003ci>\u003ca href=\"https://missionculturalcenter.org/day-of-the-dead?event_date=2021-11-02\" target=\"_blank\" rel=\"noopener noreferrer\">Ni Tanto Ni Tan Muertos (Neither so many nor so dead)\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>“Neither so many, because there are so many more of us that are alive,” Rodriguez says. “And nor so dead, because the dead are still with us; they accompany us in our memories.”\u003c/p>\n\u003cp>Arias takes this theme to heart as an artist who’s been \u003ca href=\"http://adrianarias.com/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener noreferrer\">making these altars for years\u003c/a> as a sort of bridge between the dead and the living. “The aim is to create these invisible lines that inspire people to do things,” Arias says, adding that the action he hopes to inspire can take several forms, from making art to being kind to others.\u003c/p>\n\u003cfigure id=\"attachment_13905684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Artist Adrian Arias, Mission Cultural Center executive director Jennie Rodriguez and Manos Creativas member Marco Morales. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His installations honoring dead artists have been exhibited at Davies Symphony Hall and the Oakland Museum of California, among other cultural spaces.\u003c/p>\n\u003cp>The artist typically does one or two installations a year. But in 2021, Arias says he’s barely been able to keep up with the death toll among his friends and mentors—even when the COVID-19 pandemic lockdown gave him plenty of focused studio time.\u003c/p>\n\u003cp>“That was so intense,” he says. “You just paint and paint and paint and paint.”\u003c/p>\n\u003cp>Besides the altar to López, his offerings for 2021 honor postmodern dance pioneer \u003ca href=\"https://www.kqed.org/arts/13897850/remembering-anna-halprin-a-pioneering-choreographer\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Halprin\u003c/a>, visual artist \u003ca href=\"https://www.kqed.org/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, and poets \u003ca href=\"https://en.wikipedia.org/wiki/Jack_Hirschman#Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Hirschman\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11883109/janice-mirikitani-glide-co-founder-and-sf-poet-laureate-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Mirikitani\u003c/a>. All died this year and had strong ties to the Bay Area. All but one, Liu, were people with whom Arias had a powerful personal connection.\u003c/p>\n\u003cp>“He became my mentor in poetry,” Arias says of Hirschman, who died Aug. 22 at age 87. “Very generous, like a father figure.”\u003c/p>\n\u003cp>Arias studied dance with Halprin and collaborated with her. Despite her age (she was 100 when she died on May 24), Arias says, “Most of my community, we think that Anna was immortal, because she was moving at 99.”\u003c/p>\n\u003cfigure id=\"attachment_13905686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section from Adrian Arias’s altar to Anna Halprin at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Day of the Dead As a Social Justice Tool\u003c/h2>\n\u003cp>But not all of Arias’ Day of the Dead creations are about artists.\u003c/p>\n\u003cp>Over at \u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts Cultural Center\u003c/a>, Arias has made an altar memorializing five young Latinx people killed by police officers in the U.S. and Mexico in recent years. Among them are Bay Area locals Mario Gonzalez and Sean Monterrosa.\u003c/p>\n\u003cp>Arias says the public doesn’t know enough about the many individuals who have lost their lives to police violence. Honoring them on Day of the Dead is a way to keep their lives and stories at the forefront and galvanize people to take a stand against the ongoing killings.\u003c/p>\n\u003cp>“We need to develop art as a social justice tool,” he says. “Day of the Dead is the perfect moment to do that.”\u003c/p>\n\u003cp>The massive black-and-white portraits on paper are suspended from the ceiling of the gallery. They undulate and creak whenever a breeze passes through.\u003c/p>\n\u003cp>“They look like they are alive,” Arias says.\u003c/p>\n\u003cp>Whether he knew them in life or not, Arias talks about the subjects of his Day of the Dead altars as if they’re still among us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting a hand to his heart, he says: “They’re right here.”\u003c/p>\n\n","blocks":[],"excerpt":"Adrian Arias' Day of the Dead altars memorialize figures like Yolanda López, Hung Liu and Anna Halprin.","status":"publish","parent":0,"modified":1705007531,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":952},"headData":{"title":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up | KQED","description":"Adrian Arias' Day of the Dead altars memorialize figures like Yolanda López, Hung Liu and Anna Halprin.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up","datePublished":"2021-11-02T18:55:24.000Z","dateModified":"2024-01-11T21:12:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/03161417-791a-4e5a-afe7-add4011e1e56/audio.mp3","sticky":false,"WpOldSlug":"the-bay-area-art-scene-lost-so-many-in-2021-this-altar-maker-could-barely-keep-up","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905629/oakland-adrian-arias-honors-bay-area-artists-at-somarts-and-mission-cultural-center-day-of-the-dead","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the \u003ca href=\"https://missionculturalcenter.org/day-of-the-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Cultural Center for Latino Arts\u003c/a> in San Francisco, Oakland-based artist \u003ca href=\"http://adrianarias.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Arias\u003c/a> stands in front of an altar he created to memorialize Bay Area visual artist \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López\u003c/a>, who died in September of cancer.\u003c/p>\n\u003cp>The elaborate assemblage of objects from López’s life features tubes of paint, brushes, furniture and clothes framing Arias’ feathery painted portrait of López wearing a sweeping pair of wings.\u003c/p>\n\u003cp>“She was a friend, a mentor, and one of the most important Chicano artists,” Arias says. “She was an inspiration for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13905682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Arias’s altar to Bay Area artist Yolanda López at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This altar is one of several memorials Arias has created this year for Día de los Muertos (Day of the Dead) in honor of Bay Area artists who died in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903264","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With its roots in Mexico, Day of the Dead is now observed across Latin America and the United States, and honors loved ones who have died. One of the main traditions is making elaborate memorial altars featuring candles, photographs, the deceased’s possessions, and candy skulls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the altars on view at the Mission Cultural Center—which serves as a kind of “ground zero” for the holiday in San Francisco—are not focused on artists. But altars dedicated specifically to memorializing artists have been a particular focus at the center over the years.\u003c/p>\n\u003cp>“This being a cultural and artistic center, we particularly think that this should be the place where we honor artists,” says Jennie Rodriguez, the center’s executive director.\u003c/p>\n\u003cfigure id=\"attachment_13905683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main altar at Mission Cultural Center for Latino Arts, by the Bay Area artist collective Manos Creativas, riffs on many symbols associated with Dia de los Muertos, rather than on memorializing a specific artists. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bridge Between the Dead and the Living\u003c/h2>\n\u003cp>The theme and title of this year’s Day of the Dead celebration (the Mission Cultural Center’s 35th), is \u003ci>\u003ca href=\"https://missionculturalcenter.org/day-of-the-dead?event_date=2021-11-02\" target=\"_blank\" rel=\"noopener noreferrer\">Ni Tanto Ni Tan Muertos (Neither so many nor so dead)\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>“Neither so many, because there are so many more of us that are alive,” Rodriguez says. “And nor so dead, because the dead are still with us; they accompany us in our memories.”\u003c/p>\n\u003cp>Arias takes this theme to heart as an artist who’s been \u003ca href=\"http://adrianarias.com/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener noreferrer\">making these altars for years\u003c/a> as a sort of bridge between the dead and the living. “The aim is to create these invisible lines that inspire people to do things,” Arias says, adding that the action he hopes to inspire can take several forms, from making art to being kind to others.\u003c/p>\n\u003cfigure id=\"attachment_13905684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Artist Adrian Arias, Mission Cultural Center executive director Jennie Rodriguez and Manos Creativas member Marco Morales. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His installations honoring dead artists have been exhibited at Davies Symphony Hall and the Oakland Museum of California, among other cultural spaces.\u003c/p>\n\u003cp>The artist typically does one or two installations a year. But in 2021, Arias says he’s barely been able to keep up with the death toll among his friends and mentors—even when the COVID-19 pandemic lockdown gave him plenty of focused studio time.\u003c/p>\n\u003cp>“That was so intense,” he says. “You just paint and paint and paint and paint.”\u003c/p>\n\u003cp>Besides the altar to López, his offerings for 2021 honor postmodern dance pioneer \u003ca href=\"https://www.kqed.org/arts/13897850/remembering-anna-halprin-a-pioneering-choreographer\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Halprin\u003c/a>, visual artist \u003ca href=\"https://www.kqed.org/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, and poets \u003ca href=\"https://en.wikipedia.org/wiki/Jack_Hirschman#Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Hirschman\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11883109/janice-mirikitani-glide-co-founder-and-sf-poet-laureate-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Mirikitani\u003c/a>. All died this year and had strong ties to the Bay Area. All but one, Liu, were people with whom Arias had a powerful personal connection.\u003c/p>\n\u003cp>“He became my mentor in poetry,” Arias says of Hirschman, who died Aug. 22 at age 87. “Very generous, like a father figure.”\u003c/p>\n\u003cp>Arias studied dance with Halprin and collaborated with her. Despite her age (she was 100 when she died on May 24), Arias says, “Most of my community, we think that Anna was immortal, because she was moving at 99.”\u003c/p>\n\u003cfigure id=\"attachment_13905686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section from Adrian Arias’s altar to Anna Halprin at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Day of the Dead As a Social Justice Tool\u003c/h2>\n\u003cp>But not all of Arias’ Day of the Dead creations are about artists.\u003c/p>\n\u003cp>Over at \u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts Cultural Center\u003c/a>, Arias has made an altar memorializing five young Latinx people killed by police officers in the U.S. and Mexico in recent years. Among them are Bay Area locals Mario Gonzalez and Sean Monterrosa.\u003c/p>\n\u003cp>Arias says the public doesn’t know enough about the many individuals who have lost their lives to police violence. Honoring them on Day of the Dead is a way to keep their lives and stories at the forefront and galvanize people to take a stand against the ongoing killings.\u003c/p>\n\u003cp>“We need to develop art as a social justice tool,” he says. “Day of the Dead is the perfect moment to do that.”\u003c/p>\n\u003cp>The massive black-and-white portraits on paper are suspended from the ceiling of the gallery. They undulate and creak whenever a breeze passes through.\u003c/p>\n\u003cp>“They look like they are alive,” Arias says.\u003c/p>\n\u003cp>Whether he knew them in life or not, Arias talks about the subjects of his Day of the Dead altars as if they’re still among us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting a hand to his heart, he says: “They’re right here.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905629/oakland-adrian-arias-honors-bay-area-artists-at-somarts-and-mission-cultural-center-day-of-the-dead","authors":["8608"],"categories":["arts_1"],"tags":["arts_2839","arts_10278","arts_3649","arts_3181","arts_2207"],"featImg":"arts_13905632","label":"arts"},"arts_13901605":{"type":"posts","id":"arts_13901605","meta":{"index":"posts_1591205157","site":"arts","id":"13901605","score":null,"sort":[1629842347000]},"guestAuthors":[],"slug":"hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","title":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her","publishDate":1629842347,"format":"audio","headTitle":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The first thing visitors come across when they enter San Francisco’s \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a> is Oakland artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s U.S. Permanent Resident card.\u003c/p>\n\u003cp>Not the \u003cem>actual\u003c/em> artifact—but rather a colossal, painterly reproduction (itself based on \u003ci>Resident Alien\u003c/i>, an installation the artist made in 1988) that satirizes the experience of immigrating as a Chinese person to the U.S. The outsize print covers the entire back wall of the museum’s atrium. And it stops visitors like Beatrice Harrison, visiting the de Young for the first time from her home in Sacramento, in their tracks.\u003c/p>\n\u003cp>“It’s quite in your face,” Harrison says. “For a lot of folks that are just not familiar with how aliens have been treated, it’s good to see a representation.”\u003c/p>\n\u003cp>Liu died unexpectedly of pancreatic cancer earlier this month, just weeks ahead of a major, \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">career-defining retrospective\u003c/a> at the \u003ca href=\"https://npg.si.edu/home/national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">National Portrait Gallery\u003c/a> in Washington, D.C. The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks that focus on working class people and immigrants.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LV8e43K2zCI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Somehow you need to make a connection with whatever your subject,” Liu told KQED in a \u003ca href=\"https://ww2.kqed.org/spark/hung-liu/\" target=\"_blank\" rel=\"noopener noreferrer\">2005 video profile\u003c/a>. “Because when you have a human figure in any photograph or painting, you always ask, you know, ‘Who’s this?’”\u003c/p>\n\u003cp>This empathy is what gives Liu’s work such power, whether focusing on Dust Bowl migrants inspired by Dorothea Lange’s Depression-era photographs, or Chinese peasants and “comfort women” recreated from photos she took or collected herself.\u003c/p>\n\u003cp>“She’s uncovering forgotten histories—those people who are at risk of being forgotten—and making sure they’re seen and visible and respected,” says \u003ca href=\"https://profiles.si.edu/display/nMossD8302011\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Moss\u003c/a>, curator of painting and sculpture at the National Portrait Gallery. “The scale is monumental. The colors are searing. The texture is dripping with linseed oil, like a veil of tears. And the faces: There’s so much humanity in the faces.”\u003c/p>\n\u003cfigure id=\"attachment_13901648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901648 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu’s ‘Migrant Mother: Mealtime,’ 2016 is one of many recent works inspired by the photographs of Dorothea Lange. \u003ccite>(Collection of Michael Klein/Copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Growing Up Under Communism\u003c/h2>\n\u003cp>Liu was born in 1948 in the northeastern city of Changchun. The city was soon under siege in the struggle for power between nationalist and communist armies. When Liu’s family tried to escape, the communists arrested and imprisoned her father for his nationalist ties.\u003c/p>\n\u003cp>“She was six months old,” says Liu’s husband, art critic Jeff Kelley. “And she didn’t see him again until she was 46.”\u003c/p>\n\u003cp>The communist authorities continued to dictate the terms of Liu’s existence as an educated young woman. In 1968, during the Cultural Revolution, she was sent work in the fields with other students as part of a sweeping “reeducation” program.\u003c/p>\n\u003cfigure id=\"attachment_13901649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901649 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg\" alt=\"\" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1020x1350.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1160x1536.jpg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1547x2048.jpg 1547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Village Photograph 4 Paintbox,’ circa 1970–72. Liu photographed villagers during her four years of farm labor during the Cultural Revolution. \u003ccite>(Collection of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They worked seven days a week, 364 days a year, for four years,” says Kelley.\u003c/p>\n\u003cp>Liu, who had enjoyed painting and drawing since she was little, spent her free moments sketching scenes of country life. But the art she was interested in making—even after she was allowed to resume her studies in Beijing as an art teacher—didn’t exactly capture the revolutionary spirit.\u003c/p>\n\u003cp>“She would paint landscapes in a kind of expressive Impressionist style,” Kelley says. “And they didn’t include heroic peasants. They didn’t include the Great Leader. They didn’t include signs of industrial or agricultural progress.”\u003c/p>\n\u003cp>Liu hid the contraband landscapes under her bed—and dreamed of escape.\u003c/p>\n\u003cp>“She told me that, one time, she was working in the fields, and she saw this silver passenger jet,” Kelley says. “And she looked and thought, ‘Where is it going? And will I ever be able to go there?’”\u003c/p>\n\u003cp>After several years of petitioning the Chinese government, in 1984, Liu did manage to board a plane. She headed on scholarship to art school at \u003ca href=\"https://visarts.ucsd.edu/grad/mfa.html\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13901651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu as a graduate student in Beijing, 1980. \u003ccite>(Courtesy of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, she studied with the feminist art historian Moira Roth as well as artist \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Kaprow\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Kaprow\u003c/a>, who coined the term “happenings” for the influential form of performance art he helped shape in the 1950s and 60s.\u003c/p>\n\u003cp>Kelley, who met Liu while he also studying art at UC San Diego, says Kaprow’s methods were unorthodox. “He took the class out to a dumpster with a bunch of paint. And then the professor said, ‘OK, do something.’ And Hung said, ‘Do what?’”\u003c/p>\n\u003cp>Kelley says that was a pivotal moment for Liu. “That was perhaps the most defining, liberating act in her education as an artist,” Kelley says. “That art could be whatever you insisted that it was.”\u003c/p>\n\u003cp>She and Kelley married in 1986; Liu brought her son Ling Chen (LC) from her previous marriage to live with her and Kelley in the U.S. The family settled in Texas, where Kelley had a university job. Liu divided her time between making art and working a series of day jobs, such as serving as a security guard at the Kimball Museum in Fort Worth and painting labels for soup cans. She started getting gallery shows around the country and eventually landed an academic position at the University of North Texas in Denton. \u003c/p>\n\u003cp>In 1990, Oakland’s Mills College offered Liu a teaching position, and the family moved to the Bay Area, where they’ve lived ever since. In 2014, Liu became professor emeritus of painting at Mills.\u003c/p>\n\u003cfigure id=\"attachment_13901652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-768x382.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1536x765.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Strange Fruit: Comfort Women,’ 2001; Oil on canvas. \u003ccite>(Karen and Robert Duncan Collection, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Breaking Barriers for Others\u003c/h2>\n\u003cp>In addition to her paintings, Liu earned critical acclaim for conceptual artworks exploring the Chinese immigration experience and identity, such as the previously mentioned \u003ci>Resident Alien\u003c/i> and \u003ci>Jiu Jin Shan (Old Gold Mountain)\u003c/i>, a 1994 installation fashioned a mound out of 200,000 fortune cookies. Her steady stream of gallery and museum shows both nationally and abroad included a major 2013 retrospective organized by the Oakland Museum of California, \u003ci>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" rel=\"noopener noreferrer\" target=\"_blank\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/i>. She is represented locally by Rena Bransten Gallery in San Francisco.\u003c/p>\n\u003cp>Today, her works are in the collections of prestigious institutions like the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art. She made \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">national headlines\u003c/a> in 2019 when the Chinese government prevented a big solo show from going ahead at the high-profile \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a> in Beijing.\u003c/p>\n\u003cp>And she’s the first Asian American woman ever to get a solo retrospective at the National Portrait Gallery.\u003c/p>\n\u003cfigure id=\"attachment_13901654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg\" alt=\"\" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1536x1525.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Cotton Picker, 2015; Oil on canvas. \u003ccite>(Collection of Sig Anderman, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hung is one of those artists that was breaking those barriers so that people like me can be represented for what we do,” says her longtime friend, Bay Area artist \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard\u003c/a>, who’s African American. “She was one of the artists that helped us to get a place at the table.”\u003c/p>\n\u003cp>Liu’s passion for connecting with people from all walks of life extended well beyond the canvas. She is remembered by friends, colleagues, former students and family for her generosity and enthusiasm. “Mom showed her love in many ways,” says Liu’s son, LC. “She was always laughing and making jokes.”\u003c/p>\n\u003cp>“She was kind of up for everything, just ready to go,” says Trish Bransten, of \u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>.\u003c/p>\n\u003cp>Even in what could be stressful situations, like the installation of her monumentally scaled de Young exhibition, Liu stood out. “I’ve met many artists in my over 25 years of working in the arts, and she’s by far the nicest artist I ever met,” says \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young\u003c/a> technician Paul Tavian.\u003c/p>\n\u003cp>Her over two decades of teaching at Mills had a profound impact on generations of artists, some of whom say Liu forever altered the course of their lives and careers. “As a professor, she was generous and nurturing, yet firm and exacting,” says artist and former student \u003ca href=\"http://www.monicalundy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Lundy\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the Bay Area arts community mourns the sudden loss of one of its central figures, art institutions on both coasts, including SFMOMA and the de Young, are planning memorials in the coming months to further celebrate the legacy of Liu’s life and work.\u003c/p>\n\n","blocks":[],"excerpt":"The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks focused on working-class people and immigrants.","status":"publish","parent":0,"modified":1705007911,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1522},"headData":{"title":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her | KQED","description":"The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks focused on working-class people and immigrants.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her","datePublished":"2021-08-24T21:59:07.000Z","dateModified":"2024-01-11T21:18:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/197ca0c1-5431-464d-910c-ad8e01221b79/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","audioDuration":420000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors come across when they enter San Francisco’s \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a> is Oakland artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s U.S. Permanent Resident card.\u003c/p>\n\u003cp>Not the \u003cem>actual\u003c/em> artifact—but rather a colossal, painterly reproduction (itself based on \u003ci>Resident Alien\u003c/i>, an installation the artist made in 1988) that satirizes the experience of immigrating as a Chinese person to the U.S. The outsize print covers the entire back wall of the museum’s atrium. And it stops visitors like Beatrice Harrison, visiting the de Young for the first time from her home in Sacramento, in their tracks.\u003c/p>\n\u003cp>“It’s quite in your face,” Harrison says. “For a lot of folks that are just not familiar with how aliens have been treated, it’s good to see a representation.”\u003c/p>\n\u003cp>Liu died unexpectedly of pancreatic cancer earlier this month, just weeks ahead of a major, \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">career-defining retrospective\u003c/a> at the \u003ca href=\"https://npg.si.edu/home/national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">National Portrait Gallery\u003c/a> in Washington, D.C. The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks that focus on working class people and immigrants.\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/LV8e43K2zCI'\n title='//www.youtube.com/embed/LV8e43K2zCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>“Somehow you need to make a connection with whatever your subject,” Liu told KQED in a \u003ca href=\"https://ww2.kqed.org/spark/hung-liu/\" target=\"_blank\" rel=\"noopener noreferrer\">2005 video profile\u003c/a>. “Because when you have a human figure in any photograph or painting, you always ask, you know, ‘Who’s this?’”\u003c/p>\n\u003cp>This empathy is what gives Liu’s work such power, whether focusing on Dust Bowl migrants inspired by Dorothea Lange’s Depression-era photographs, or Chinese peasants and “comfort women” recreated from photos she took or collected herself.\u003c/p>\n\u003cp>“She’s uncovering forgotten histories—those people who are at risk of being forgotten—and making sure they’re seen and visible and respected,” says \u003ca href=\"https://profiles.si.edu/display/nMossD8302011\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Moss\u003c/a>, curator of painting and sculpture at the National Portrait Gallery. “The scale is monumental. The colors are searing. The texture is dripping with linseed oil, like a veil of tears. And the faces: There’s so much humanity in the faces.”\u003c/p>\n\u003cfigure id=\"attachment_13901648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901648 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu’s ‘Migrant Mother: Mealtime,’ 2016 is one of many recent works inspired by the photographs of Dorothea Lange. \u003ccite>(Collection of Michael Klein/Copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Growing Up Under Communism\u003c/h2>\n\u003cp>Liu was born in 1948 in the northeastern city of Changchun. The city was soon under siege in the struggle for power between nationalist and communist armies. When Liu’s family tried to escape, the communists arrested and imprisoned her father for his nationalist ties.\u003c/p>\n\u003cp>“She was six months old,” says Liu’s husband, art critic Jeff Kelley. “And she didn’t see him again until she was 46.”\u003c/p>\n\u003cp>The communist authorities continued to dictate the terms of Liu’s existence as an educated young woman. In 1968, during the Cultural Revolution, she was sent work in the fields with other students as part of a sweeping “reeducation” program.\u003c/p>\n\u003cfigure id=\"attachment_13901649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901649 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg\" alt=\"\" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1020x1350.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1160x1536.jpg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1547x2048.jpg 1547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Village Photograph 4 Paintbox,’ circa 1970–72. Liu photographed villagers during her four years of farm labor during the Cultural Revolution. \u003ccite>(Collection of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They worked seven days a week, 364 days a year, for four years,” says Kelley.\u003c/p>\n\u003cp>Liu, who had enjoyed painting and drawing since she was little, spent her free moments sketching scenes of country life. But the art she was interested in making—even after she was allowed to resume her studies in Beijing as an art teacher—didn’t exactly capture the revolutionary spirit.\u003c/p>\n\u003cp>“She would paint landscapes in a kind of expressive Impressionist style,” Kelley says. “And they didn’t include heroic peasants. They didn’t include the Great Leader. They didn’t include signs of industrial or agricultural progress.”\u003c/p>\n\u003cp>Liu hid the contraband landscapes under her bed—and dreamed of escape.\u003c/p>\n\u003cp>“She told me that, one time, she was working in the fields, and she saw this silver passenger jet,” Kelley says. “And she looked and thought, ‘Where is it going? And will I ever be able to go there?’”\u003c/p>\n\u003cp>After several years of petitioning the Chinese government, in 1984, Liu did manage to board a plane. She headed on scholarship to art school at \u003ca href=\"https://visarts.ucsd.edu/grad/mfa.html\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13901651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu as a graduate student in Beijing, 1980. \u003ccite>(Courtesy of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, she studied with the feminist art historian Moira Roth as well as artist \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Kaprow\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Kaprow\u003c/a>, who coined the term “happenings” for the influential form of performance art he helped shape in the 1950s and 60s.\u003c/p>\n\u003cp>Kelley, who met Liu while he also studying art at UC San Diego, says Kaprow’s methods were unorthodox. “He took the class out to a dumpster with a bunch of paint. And then the professor said, ‘OK, do something.’ And Hung said, ‘Do what?’”\u003c/p>\n\u003cp>Kelley says that was a pivotal moment for Liu. “That was perhaps the most defining, liberating act in her education as an artist,” Kelley says. “That art could be whatever you insisted that it was.”\u003c/p>\n\u003cp>She and Kelley married in 1986; Liu brought her son Ling Chen (LC) from her previous marriage to live with her and Kelley in the U.S. The family settled in Texas, where Kelley had a university job. Liu divided her time between making art and working a series of day jobs, such as serving as a security guard at the Kimball Museum in Fort Worth and painting labels for soup cans. She started getting gallery shows around the country and eventually landed an academic position at the University of North Texas in Denton. \u003c/p>\n\u003cp>In 1990, Oakland’s Mills College offered Liu a teaching position, and the family moved to the Bay Area, where they’ve lived ever since. In 2014, Liu became professor emeritus of painting at Mills.\u003c/p>\n\u003cfigure id=\"attachment_13901652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-768x382.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1536x765.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Strange Fruit: Comfort Women,’ 2001; Oil on canvas. \u003ccite>(Karen and Robert Duncan Collection, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Breaking Barriers for Others\u003c/h2>\n\u003cp>In addition to her paintings, Liu earned critical acclaim for conceptual artworks exploring the Chinese immigration experience and identity, such as the previously mentioned \u003ci>Resident Alien\u003c/i> and \u003ci>Jiu Jin Shan (Old Gold Mountain)\u003c/i>, a 1994 installation fashioned a mound out of 200,000 fortune cookies. Her steady stream of gallery and museum shows both nationally and abroad included a major 2013 retrospective organized by the Oakland Museum of California, \u003ci>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" rel=\"noopener noreferrer\" target=\"_blank\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/i>. She is represented locally by Rena Bransten Gallery in San Francisco.\u003c/p>\n\u003cp>Today, her works are in the collections of prestigious institutions like the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art. She made \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">national headlines\u003c/a> in 2019 when the Chinese government prevented a big solo show from going ahead at the high-profile \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a> in Beijing.\u003c/p>\n\u003cp>And she’s the first Asian American woman ever to get a solo retrospective at the National Portrait Gallery.\u003c/p>\n\u003cfigure id=\"attachment_13901654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg\" alt=\"\" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1536x1525.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Cotton Picker, 2015; Oil on canvas. \u003ccite>(Collection of Sig Anderman, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hung is one of those artists that was breaking those barriers so that people like me can be represented for what we do,” says her longtime friend, Bay Area artist \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard\u003c/a>, who’s African American. “She was one of the artists that helped us to get a place at the table.”\u003c/p>\n\u003cp>Liu’s passion for connecting with people from all walks of life extended well beyond the canvas. She is remembered by friends, colleagues, former students and family for her generosity and enthusiasm. “Mom showed her love in many ways,” says Liu’s son, LC. “She was always laughing and making jokes.”\u003c/p>\n\u003cp>“She was kind of up for everything, just ready to go,” says Trish Bransten, of \u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>.\u003c/p>\n\u003cp>Even in what could be stressful situations, like the installation of her monumentally scaled de Young exhibition, Liu stood out. “I’ve met many artists in my over 25 years of working in the arts, and she’s by far the nicest artist I ever met,” says \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young\u003c/a> technician Paul Tavian.\u003c/p>\n\u003cp>Her over two decades of teaching at Mills had a profound impact on generations of artists, some of whom say Liu forever altered the course of their lives and careers. “As a professor, she was generous and nurturing, yet firm and exacting,” says artist and former student \u003ca href=\"http://www.monicalundy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Lundy\u003c/a>.\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>While the Bay Area arts community mourns the sudden loss of one of its central figures, art institutions on both coasts, including SFMOMA and the de Young, are planning memorials in the coming months to further celebrate the legacy of Liu’s life and work.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","authors":["8608"],"categories":["arts_1","arts_70"],"tags":["arts_1210","arts_10342","arts_10278","arts_3181","arts_2299","arts_1091"],"featImg":"arts_13901622","label":"arts"},"arts_13900907":{"type":"posts","id":"arts_13900907","meta":{"index":"posts_1591205157","site":"arts","id":"13900907","score":null,"sort":[1628551012000]},"guestAuthors":[],"slug":"hung-liu-obituary-national-portrait-gallery","title":"Oakland Artist Hung Liu Passes Away Ahead of Major National Portrait Gallery Show","publishDate":1628551012,"format":"audio","headTitle":"Oakland Artist Hung Liu Passes Away Ahead of Major National Portrait Gallery Show | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oakland-based visual artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a> died over the weekend. She was one of the first Chinese artists to establish a successful career in the United States.\u003c/p>\n\u003cp>Liu was less than two months shy of opening \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">a major exhibition\u003c/a> at the National Portrait Gallery in Washington, D.C.—the institution’s first ever solo show by an Asian American woman—when she was diagnosed with late-stage pancreatic cancer. She was 73 years old.\u003c/p>\n\u003cp>“The National Portrait Gallery mourns the loss of Hung Liu, whose extraordinary vision reminds us that even in the midst of despair, and when people help each other, there is joy,” said the institution’s director, Kim Sajet, in a statement issued on Monday. “She believed in the power of art and portraiture to change the world.”\u003c/p>\n\u003cp>https://youtu.be/LV8e43K2zCI\u003c/p>\n\u003cp>Liu is best known for her massive, detailed portraits of working-class people, often based on photographs and featuring linseed oil washes giving the imagery an ethereal, melting quality. Liu’s work earned her many art world accolades and the admiration of curators from all over the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her work has been collected by institutions like the San Francisco Museum of Modern Art, the Whitney Museum, the Asian Art Museum, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the San Jose Museum of Art. And galleries and museums as far afield as Virginia and Maine have featured Liu’s work in exhibitions.\u003c/p>\n\u003cp>“She spent her career focusing on the dispossessed—people who have been traditionally elided from historical narratives—giving them a voice, giving them a place and foregrounding their stories,” says Janna Keegan, the curator of Liu’s immigration-themed show currently on display at San Francisco’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13900935\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Hung Liu: Golden Gate (金門)’ at the de Young Museum in San Francisco. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu was born in China in 1948 under the Maoist regime. She immigrated to the United States in 1984 to attend grad school at UC San Diego. In addition to working as an artist, she also taught painting for more than two decades at Mills College, starting in 1990.\u003c/p>\n\u003cp>Even though much of her work foregrounded human rights, gender and cultural memory issues over overt political commentary, Liu made national headlines a few of years ago when a prominent arts center in Beijing, the \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a>, was forced to cancel a major exhibition of Liu’s works after the local authorities declined to issue the necessary import permits.\u003c/p>\n\u003cp>“Topics that were once relatively open for discussion are now increasingly scrutinized,” Philip Tinari, the UCCA Center’s director, told the \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>New York Times\u003c/i>\u003c/a> about the show’s late-stage cancellation. “An exhibition that might have been greenlighted a few years ago—such as this one—must now be canceled.”\u003c/p>\n\u003cp>Galleries and museums across the country issued statements in response to the artist’s death, such as the Oakland Museum of California, which had a long relationship with Liu. The museum collected her pieces, co-commissioned \u003cem>Going Away, Coming Home\u003c/em>, an installation at the Oakland Airport, and presented a 2013 survey of her work, \u003cem>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Hung’s work bridged cultures, spanned history, and connected hearts around the world,” wrote Oakland Museum director Lori Fogarty in a statement released on Monday on social media. “Beyond her artistic career and her stunning paintings, Hung was a beloved friend. She was vibrant, funny, playful, and joyous. She was also strong, fierce, and courageous. She was the most generous of people and the hardest working. She painted nearly every day and was continually finding inspiration for her insatiable curiosity and creativity. And she had the ability to make everyone with whom she came in contact feel special and honored. We count ourselves so lucky to have known her.”\u003c/p>\n\u003cp>Liu is survived by her husband, Jeff Kelley, and son, Ling Chen Kelley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Portraits of Promised Lands\u003c/em>\u003c/a> opens at the National Portrait Gallery on Aug. 27, 2020 and \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Golden Gate\u003c/em>\u003c/a> is on display at the de Young Museum through March 13, 2022.\u003c/p>\n\n","blocks":[],"excerpt":"One of the first Chinese artists to establish a successful career in the US, Hung Liu died of pancreatic cancer on Aug. 7, 2021.","status":"publish","parent":0,"modified":1705007993,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":730},"headData":{"title":"Oakland Artist Hung Liu Passes Away Ahead of Major National Portrait Gallery Show | KQED","description":"One of the first Chinese artists to establish a successful career in the US, Hung Liu died of pancreatic cancer on Aug. 7, 2021.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Artist Hung Liu Passes Away Ahead of Major National Portrait Gallery Show","datePublished":"2021-08-09T23:16:52.000Z","dateModified":"2024-01-11T21:19:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2021/08/VeltmanHungLiu.mp3","sticky":false,"WpOldSlug":"oakland-artist-hung-liu-passes-away-ahead-of-major-national-portrait-gallery-show","templateType":"standard","featuredImageType":"standard","path":"/arts/13900907/hung-liu-obituary-national-portrait-gallery","audioDuration":59000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-based visual artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a> died over the weekend. She was one of the first Chinese artists to establish a successful career in the United States.\u003c/p>\n\u003cp>Liu was less than two months shy of opening \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">a major exhibition\u003c/a> at the National Portrait Gallery in Washington, D.C.—the institution’s first ever solo show by an Asian American woman—when she was diagnosed with late-stage pancreatic cancer. She was 73 years old.\u003c/p>\n\u003cp>“The National Portrait Gallery mourns the loss of Hung Liu, whose extraordinary vision reminds us that even in the midst of despair, and when people help each other, there is joy,” said the institution’s director, Kim Sajet, in a statement issued on Monday. “She believed in the power of art and portraiture to change the world.”\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/LV8e43K2zCI'\n title='//www.youtube.com/embed/LV8e43K2zCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liu is best known for her massive, detailed portraits of working-class people, often based on photographs and featuring linseed oil washes giving the imagery an ethereal, melting quality. Liu’s work earned her many art world accolades and the admiration of curators from all over the country.\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>Her work has been collected by institutions like the San Francisco Museum of Modern Art, the Whitney Museum, the Asian Art Museum, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the San Jose Museum of Art. And galleries and museums as far afield as Virginia and Maine have featured Liu’s work in exhibitions.\u003c/p>\n\u003cp>“She spent her career focusing on the dispossessed—people who have been traditionally elided from historical narratives—giving them a voice, giving them a place and foregrounding their stories,” says Janna Keegan, the curator of Liu’s immigration-themed show currently on display at San Francisco’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13900935\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Hung Liu: Golden Gate (金門)’ at the de Young Museum in San Francisco. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu was born in China in 1948 under the Maoist regime. She immigrated to the United States in 1984 to attend grad school at UC San Diego. In addition to working as an artist, she also taught painting for more than two decades at Mills College, starting in 1990.\u003c/p>\n\u003cp>Even though much of her work foregrounded human rights, gender and cultural memory issues over overt political commentary, Liu made national headlines a few of years ago when a prominent arts center in Beijing, the \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a>, was forced to cancel a major exhibition of Liu’s works after the local authorities declined to issue the necessary import permits.\u003c/p>\n\u003cp>“Topics that were once relatively open for discussion are now increasingly scrutinized,” Philip Tinari, the UCCA Center’s director, told the \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>New York Times\u003c/i>\u003c/a> about the show’s late-stage cancellation. “An exhibition that might have been greenlighted a few years ago—such as this one—must now be canceled.”\u003c/p>\n\u003cp>Galleries and museums across the country issued statements in response to the artist’s death, such as the Oakland Museum of California, which had a long relationship with Liu. The museum collected her pieces, co-commissioned \u003cem>Going Away, Coming Home\u003c/em>, an installation at the Oakland Airport, and presented a 2013 survey of her work, \u003cem>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Hung’s work bridged cultures, spanned history, and connected hearts around the world,” wrote Oakland Museum director Lori Fogarty in a statement released on Monday on social media. “Beyond her artistic career and her stunning paintings, Hung was a beloved friend. She was vibrant, funny, playful, and joyous. She was also strong, fierce, and courageous. She was the most generous of people and the hardest working. She painted nearly every day and was continually finding inspiration for her insatiable curiosity and creativity. And she had the ability to make everyone with whom she came in contact feel special and honored. We count ourselves so lucky to have known her.”\u003c/p>\n\u003cp>Liu is survived by her husband, Jeff Kelley, and son, Ling Chen Kelley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Portraits of Promised Lands\u003c/em>\u003c/a> opens at the National Portrait Gallery on Aug. 27, 2020 and \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Golden Gate\u003c/em>\u003c/a> is on display at the de Young Museum through March 13, 2022.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13900907/hung-liu-obituary-national-portrait-gallery","authors":["8608"],"categories":["arts_1","arts_235"],"tags":["arts_2504","arts_10342","arts_10278","arts_3181","arts_2755"],"featImg":"arts_13900933","label":"arts"},"arts_12856496":{"type":"posts","id":"arts_12856496","meta":{"index":"posts_1591205157","site":"arts","id":"12856496","score":null,"sort":[1488808832000]},"guestAuthors":[],"slug":"we-who-work-pays-tribute-to-those-laboring-in-santa-cruz-and-beyond","title":"'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond","publishDate":1488808832,"format":"image","headTitle":"‘We Who Work’ Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311005606″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new exhibition by Hung Liu at the Santa Cruz Museum of Art & History pays tribute to the working class. ","status":"publish","parent":0,"modified":1705031340,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1014},"headData":{"title":"'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED","description":"A new exhibition by Hung Liu at the Santa Cruz Museum of Art & History pays tribute to the working class. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond","datePublished":"2017-03-06T14:00:32.000Z","dateModified":"2024-01-12T03:49:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12856496/we-who-work-pays-tribute-to-those-laboring-in-santa-cruz-and-beyond","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\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 idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311005606″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311005606″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12856496/we-who-work-pays-tribute-to-those-laboring-in-santa-cruz-and-beyond","authors":["251"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1642","arts_5391","arts_1119","arts_1118","arts_3181","arts_596","arts_1143","arts_4642","arts_1028"],"featImg":"arts_12857734","label":"arts"},"arts_12736227":{"type":"posts","id":"arts_12736227","meta":{"index":"posts_1591205157","site":"arts","id":"12736227","score":null,"sort":[1486564200000]},"guestAuthors":[],"slug":"portraits-of-an-immigrant-filled-nation-at-walter-maciel-gallery","title":"Portraits of an Immigrant-Filled Nation at Walter Maciel Gallery","publishDate":1486564200,"format":"video","headTitle":"Portraits of an Immigrant-Filled Nation at Walter Maciel Gallery | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When Bay Area artist Monica Lundy and Los Angeles gallery-owner Walter Maciel organized the massive group exhibition \u003ci>With Liberty and Justice for Some\u003c/i>, they had no idea how prescient it was. The show of 113 artists, which opened on Jan. 7 with the highest attendance Maciel has seen in his 11 years of operation, centers around a group of 82 8-by-8-inch portraits of immigrants, arranged to resemble an American flag. The symbolism is unavoidable.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Back when Donald Trump was still the President-elect, long before his Jan. 27 executive order became a flashpoint for pro-immigrant rallies at airports across the nation, Lundy, like many in her artistic community, felt both helpless and determined to do something, anything, in response to Trump’s presidency.\u003c/p>\n\u003cp>“We wanted the project to be supportive of some of the communities under attack by this incoming administration,” Lundy told KQED Arts. “That Mexicans are being threatened with deportation, and Muslims, of being shut out, it reminds me of the history of bigotry in this country.”\u003c/p>\n\u003cp>She found a willing partner for the project in Maciel, and the call for portraits of immigrants took shape quickly. Bay Area artists involved in the show include longtime Mills College professor and Chinese-born painter Hung Liu, Phillip Hua, Yulia Pinkusevich, Rodney Ewing, Dave Kim and Soad Kader. Each chose to represent either a close friend or family member, or in the case of Ewing, personal hero and pan-Africanist Marcus Garvey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Immigrants represented in the 158 portraits on view at \u003ca href=\"http://www.waltermacielgallery.com\" target=\"_blank\" rel=\"noopener\">Walter Maciel Gallery\u003c/a> include well-known figures more regularly defined by their contributions to American society than their foreign birthplaces: former Secretary of State Madeline Albright, Albert Einstein, Stokely Carmichael, Bela Lugosi, and naturalist John Muir.\u003c/p>\n\u003cp>Alongside the easily recognized faces are the immigrants known only to those who lovingly rendered their portraits: artists’ parents, neighbors, teachers and loved ones. Immigrants are ubiquitous, the portraits emphasize; to delegitimize their presence in the United States would rip apart the very fabric of our democracy.\u003c/p>\n\u003cp>Putting, as Maciel says, their money where their mouths are, the gallery is donating 30 percent of all artwork sales to the ACLU, The Trevor Project, the Center for Reproductive Rights, Planned Parenthood, the Los Angeles LGBT Center and the San Francisco LGBT Center. Twenty portraits have already sold. “We are using our strength and capabilities to make a statement, but also directly supporting those organizations on the front line of taking on this administration,” says Maciel.\u003c/p>\n\u003cp>\u003ci>Video by Kelly Whalen, Text by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>With Liberty and Justice for Some\u003c/b> is on view at Walter Maciel Gallery in Los Angeles through March 4, 2017. For more information visit waltermacielgallery.com.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Portraits of immigrants bring humanity back into the political conversation at the Los Angeles exhibition 'With Liberty and Justice for Some.'","status":"publish","parent":0,"modified":1705031636,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":460},"headData":{"title":"Portraits of an Immigrant-Filled Nation at Walter Maciel Gallery | KQED","description":"Portraits of immigrants bring humanity back into the political conversation at the Los Angeles exhibition 'With Liberty and Justice for Some.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Portraits of an Immigrant-Filled Nation at Walter Maciel Gallery","datePublished":"2017-02-08T14:30:00.000Z","dateModified":"2024-01-12T03:53:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=aiOuyy7zrO4","sticky":false,"path":"/arts/12736227/portraits-of-an-immigrant-filled-nation-at-walter-maciel-gallery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bay Area artist Monica Lundy and Los Angeles gallery-owner Walter Maciel organized the massive group exhibition \u003ci>With Liberty and Justice for Some\u003c/i>, they had no idea how prescient it was. The show of 113 artists, which opened on Jan. 7 with the highest attendance Maciel has seen in his 11 years of operation, centers around a group of 82 8-by-8-inch portraits of immigrants, arranged to resemble an American flag. The symbolism is unavoidable.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Back when Donald Trump was still the President-elect, long before his Jan. 27 executive order became a flashpoint for pro-immigrant rallies at airports across the nation, Lundy, like many in her artistic community, felt both helpless and determined to do something, anything, in response to Trump’s presidency.\u003c/p>\n\u003cp>“We wanted the project to be supportive of some of the communities under attack by this incoming administration,” Lundy told KQED Arts. “That Mexicans are being threatened with deportation, and Muslims, of being shut out, it reminds me of the history of bigotry in this country.”\u003c/p>\n\u003cp>She found a willing partner for the project in Maciel, and the call for portraits of immigrants took shape quickly. Bay Area artists involved in the show include longtime Mills College professor and Chinese-born painter Hung Liu, Phillip Hua, Yulia Pinkusevich, Rodney Ewing, Dave Kim and Soad Kader. Each chose to represent either a close friend or family member, or in the case of Ewing, personal hero and pan-Africanist Marcus Garvey.\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>Immigrants represented in the 158 portraits on view at \u003ca href=\"http://www.waltermacielgallery.com\" target=\"_blank\" rel=\"noopener\">Walter Maciel Gallery\u003c/a> include well-known figures more regularly defined by their contributions to American society than their foreign birthplaces: former Secretary of State Madeline Albright, Albert Einstein, Stokely Carmichael, Bela Lugosi, and naturalist John Muir.\u003c/p>\n\u003cp>Alongside the easily recognized faces are the immigrants known only to those who lovingly rendered their portraits: artists’ parents, neighbors, teachers and loved ones. Immigrants are ubiquitous, the portraits emphasize; to delegitimize their presence in the United States would rip apart the very fabric of our democracy.\u003c/p>\n\u003cp>Putting, as Maciel says, their money where their mouths are, the gallery is donating 30 percent of all artwork sales to the ACLU, The Trevor Project, the Center for Reproductive Rights, Planned Parenthood, the Los Angeles LGBT Center and the San Francisco LGBT Center. Twenty portraits have already sold. “We are using our strength and capabilities to make a statement, but also directly supporting those organizations on the front line of taking on this administration,” says Maciel.\u003c/p>\n\u003cp>\u003ci>Video by Kelly Whalen, Text by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>With Liberty and Justice for Some\u003c/b> is on view at Walter Maciel Gallery in Los Angeles through March 4, 2017. For more information visit waltermacielgallery.com.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12736227/portraits-of-an-immigrant-filled-nation-at-walter-maciel-gallery","authors":["61","3248"],"categories":["arts_70"],"tags":["arts_1642","arts_1118","arts_3181","arts_1773","arts_596","arts_5826","arts_3126","arts_1007"],"featImg":"arts_12737929","label":"arts"},"arts_11406035":{"type":"posts","id":"arts_11406035","meta":{"index":"posts_1591205157","site":"arts","id":"11406035","score":null,"sort":[1458241234000]},"guestAuthors":[],"slug":"new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures","title":"New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures","publishDate":1458241234,"format":"standard","headTitle":"New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>[contextly_sidebar id=”AbpyaCxDT6lRRG4ZI4qkrmemNIvEAssV”]The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.","status":"publish","parent":0,"modified":1705044840,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1082},"headData":{"title":"New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures | KQED","description":"Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures","datePublished":"2016-03-17T19:00:34.000Z","dateModified":"2024-01-12T07:34:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11406035/new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\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>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\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>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11406035/new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures","authors":["187"],"categories":["arts_235","arts_70"],"tags":["arts_1119","arts_1118","arts_3181","arts_596","arts_769"],"featImg":"arts_11406037","label":"arts"},"arts_10142748":{"type":"posts","id":"arts_10142748","meta":{"index":"posts_1591205157","site":"arts","id":"10142748","score":null,"sort":[1411650056000]},"guestAuthors":[],"slug":"exploring-freedom-and-confinement-on-alcatraz","title":"Exploring Freedom and Confinement on Alcatraz","publishDate":1411650056,"format":"audio","headTitle":"Exploring Freedom and Confinement on Alcatraz | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED Radio News report on \u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b>:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140925artsweiwei.mp3\u003c/p>\n\u003c/aside>\n\u003cp>The only way to get to the exhibit is to hop on a ferry. Once you reach the island in the middle of the San Francisco bay, follow signs that lead to a building marked “Penitentiary Laundry” and there you’ll be greeted by the head of a dragon kite. For-Site Foundation founder Cheryl Haines curated the exhibit.\u003c/p>\n\u003cp>“This in my mind is the pièce de résistance,” Haines says, as she takes in the dragon head just before it’s installed. “I just got goose bumps.”\u003c/p>\n\u003cp>The massive, yet delicate kite in a rainbow of hues snakes around columns of peeling, institutional green paint.\u003c/p>\n\u003cfigure id=\"attachment_10142750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\" alt=\"Ai Weiwei, <i>Wind</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Wind\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Haines dreamed up the idea of bringing Ai’s art to Alcatraz three years ago. The artist — perhaps best known for his work on the 2008 Beijing Olympic “Birds Nest” stadium — was released from an 81-day detention by Chinese authorities for alleged tax evasion. Ai’s supporters say it was more an attempt to clamp down on his criticism of China’s government. Haines says all the works touch on themes of incarceration and individual rights, including the kite.\u003c/p>\n\u003cp>“It’s suspended above the viewer. It will be flying; it will be free,” Haines says. “But it’s also restricted within the building, so there’s this really interesting conversation between control and freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Restrictions and freedom are basically two sides of the same thing,” said Ai Weiwei from his Beijing studio last month. “The two faces of the matter.”\u003c/p>\n\u003cfigure id=\"attachment_10142751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\" alt=\"Ai Weiwei, <i>Refraction</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Refraction\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>A massive, five-ton bird’s wing further reflects that point. Made from metal panels once used as solar cookers in Tibet, the wing appears trapped in a basement. It’s viewable only from above through broken glass windows. Haines says Ai is also giving a nod to the island’s role as a seabird sanctuary. “His ability to interpret space and engage audience is unparalleled.”\u003c/p>\n\u003cp>They are skills Ai Weiwei has come to rely on. Unable to leave China after authorities confiscated his passport, Ai had to envision Alcatraz from his Beijing studio, including a row of crumbling prison cells for another work: a sound installation that pipes in the voices of people imprisoned for expressing their views.\u003c/p>\n\u003cfigure id=\"attachment_10142752\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\" alt=\"Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\u003c/figcaption>\u003c/figure>\n\u003cp>In one cell, music by the Russian feminist punk band Pussy Riot plays from decaying air vents. In 2012, the band’s members were sentenced to two years in prison after singing a song that protested Russian President Vladimir Putin.\u003c/p>\n\u003cp>Another cell plays the music of late musician Fela Kuti, who decried the Nigerian government and served 20 months in prison for alleged currency smuggling.\u003c/p>\n\u003cp>The U.S. is also implicated. A recording of a Hopi Indian chant plays in one of Alcatraz’s psychiatric observation cells. Nineteen members of the Hopi tribe were jailed at Alcatraz in 1895 for opposing the forced education of their children in government boarding schools.\u003c/p>\n\u003cfigure id=\"attachment_10142753\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\" alt=\"Ai Weiwei, <i>Trace</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142754\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\" alt=\"Ai Weiwei, <i>Trace</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>This 3-and-a-half million dollar, mostly privately funded project, has been a major undertaking. National parks officials had to seek the clearance of the U.S. state department to host one of China’s most vocal critics on federal land. None of the site’s historic walls could be harmed.\u003c/p>\n\u003cp>“We cannot touch anything, add anything, it’s a hanging installation,” Ai Weiwei said. “Like prisoners themselves who are only there for a period of time.”\u003c/p>\n\u003cp>No doubt, the obstacles also bring more attention to the exhibit. Chad Coerver, Chief Content Officer at the San Francisco Museum of Modern Art, says Ai needs visibility in the West.\u003c/p>\n\u003cp>“The more recognized he is, even though he’s incarcerated at home, the safer he is from eventually being shut off completely or disappeared again, as he was in 2011,” Coerver says. “It’s a very dicey gamble that he’s playing, because we know the West’s attention doesn’t always guarantee political freedom in China.”\u003c/p>\n\u003cp>The fight to stay visible permeates the artwork called \u003ci>Trace\u003c/i>. More than 175 portraits made from Legos of “prisoners of conscience” cover a building floor. Prominent figures like Nelson Mandela and NSA contactor Edward Snowden are among those fashioned out of colorful plastic bricks, but many are likely unknown to most Americans.\u003c/p>\n\u003cp>“One thing about Ai Weiwei, he’s really doing either research, or he wants to understand,” says celebrated Oakland painter Hung Liu.\u003c/p>\n\u003cp>Liu is close friends with Ai Weiwei and grew up during China’s Cultural Revolution under Mao Tse Tung. Like Ai, whose poet father was exiled by Mao’s government and forced to clean lavatories, China’s politics and culture permeate her work. But she is wary of political art becoming too didactic.\u003c/p>\n\u003cp>“When you have a strong political agenda, strong message, you have to be careful if you want to use art form,” Liu says. Liu plans to take a serious look at Ai’s Alcatraz work, and hopes others will get past his superstar status and do the same.\u003c/p>\n\u003cp>“Ai Weiwei’s super famous. Some people call him a god,” Liu says. “I think it’s a little too far. People tried to make Mao Tse Tung a god, so in a bigger sense, I just feel like it’s important for other people to be critical.”\u003c/p>\n\u003cp>Additional reporting by Monica Lam and Adam Grossberg.\u003cbr>\n\u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b> is on view through April 26, 2015. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener noreferrer\">more information\u003c/a> visit for-site.org.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Chinese artist Ai Weiwei's @Large debuts on Alcatraz this weekend. Some in the art world are already calling it the hottest ticket of the year. ","status":"publish","parent":0,"modified":1705048211,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1047},"headData":{"title":"Exploring Freedom and Confinement on Alcatraz | KQED","description":"Chinese artist Ai Weiwei's @Large debuts on Alcatraz this weekend. Some in the art world are already calling it the hottest ticket of the year. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Exploring Freedom and Confinement on Alcatraz","datePublished":"2014-09-25T13:00:56.000Z","dateModified":"2024-01-12T08:30:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mina Kim","path":"/arts/10142748/exploring-freedom-and-confinement-on-alcatraz","audioUrl":"http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140925artsweiwei.mp3","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED Radio News report on \u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b>:\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audioLink","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140925artsweiwei.mp3"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>The only way to get to the exhibit is to hop on a ferry. Once you reach the island in the middle of the San Francisco bay, follow signs that lead to a building marked “Penitentiary Laundry” and there you’ll be greeted by the head of a dragon kite. For-Site Foundation founder Cheryl Haines curated the exhibit.\u003c/p>\n\u003cp>“This in my mind is the pièce de résistance,” Haines says, as she takes in the dragon head just before it’s installed. “I just got goose bumps.”\u003c/p>\n\u003cp>The massive, yet delicate kite in a rainbow of hues snakes around columns of peeling, institutional green paint.\u003c/p>\n\u003cfigure id=\"attachment_10142750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\" alt=\"Ai Weiwei, <i>Wind</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Wind\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Haines dreamed up the idea of bringing Ai’s art to Alcatraz three years ago. The artist — perhaps best known for his work on the 2008 Beijing Olympic “Birds Nest” stadium — was released from an 81-day detention by Chinese authorities for alleged tax evasion. Ai’s supporters say it was more an attempt to clamp down on his criticism of China’s government. Haines says all the works touch on themes of incarceration and individual rights, including the kite.\u003c/p>\n\u003cp>“It’s suspended above the viewer. It will be flying; it will be free,” Haines says. “But it’s also restricted within the building, so there’s this really interesting conversation between control and freedom.”\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>“Restrictions and freedom are basically two sides of the same thing,” said Ai Weiwei from his Beijing studio last month. “The two faces of the matter.”\u003c/p>\n\u003cfigure id=\"attachment_10142751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\" alt=\"Ai Weiwei, <i>Refraction</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Refraction\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>A massive, five-ton bird’s wing further reflects that point. Made from metal panels once used as solar cookers in Tibet, the wing appears trapped in a basement. It’s viewable only from above through broken glass windows. Haines says Ai is also giving a nod to the island’s role as a seabird sanctuary. “His ability to interpret space and engage audience is unparalleled.”\u003c/p>\n\u003cp>They are skills Ai Weiwei has come to rely on. Unable to leave China after authorities confiscated his passport, Ai had to envision Alcatraz from his Beijing studio, including a row of crumbling prison cells for another work: a sound installation that pipes in the voices of people imprisoned for expressing their views.\u003c/p>\n\u003cfigure id=\"attachment_10142752\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\" alt=\"Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\u003c/figcaption>\u003c/figure>\n\u003cp>In one cell, music by the Russian feminist punk band Pussy Riot plays from decaying air vents. In 2012, the band’s members were sentenced to two years in prison after singing a song that protested Russian President Vladimir Putin.\u003c/p>\n\u003cp>Another cell plays the music of late musician Fela Kuti, who decried the Nigerian government and served 20 months in prison for alleged currency smuggling.\u003c/p>\n\u003cp>The U.S. is also implicated. A recording of a Hopi Indian chant plays in one of Alcatraz’s psychiatric observation cells. Nineteen members of the Hopi tribe were jailed at Alcatraz in 1895 for opposing the forced education of their children in government boarding schools.\u003c/p>\n\u003cfigure id=\"attachment_10142753\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\" alt=\"Ai Weiwei, <i>Trace</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142754\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\" alt=\"Ai Weiwei, <i>Trace</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>This 3-and-a-half million dollar, mostly privately funded project, has been a major undertaking. National parks officials had to seek the clearance of the U.S. state department to host one of China’s most vocal critics on federal land. None of the site’s historic walls could be harmed.\u003c/p>\n\u003cp>“We cannot touch anything, add anything, it’s a hanging installation,” Ai Weiwei said. “Like prisoners themselves who are only there for a period of time.”\u003c/p>\n\u003cp>No doubt, the obstacles also bring more attention to the exhibit. Chad Coerver, Chief Content Officer at the San Francisco Museum of Modern Art, says Ai needs visibility in the West.\u003c/p>\n\u003cp>“The more recognized he is, even though he’s incarcerated at home, the safer he is from eventually being shut off completely or disappeared again, as he was in 2011,” Coerver says. “It’s a very dicey gamble that he’s playing, because we know the West’s attention doesn’t always guarantee political freedom in China.”\u003c/p>\n\u003cp>The fight to stay visible permeates the artwork called \u003ci>Trace\u003c/i>. More than 175 portraits made from Legos of “prisoners of conscience” cover a building floor. Prominent figures like Nelson Mandela and NSA contactor Edward Snowden are among those fashioned out of colorful plastic bricks, but many are likely unknown to most Americans.\u003c/p>\n\u003cp>“One thing about Ai Weiwei, he’s really doing either research, or he wants to understand,” says celebrated Oakland painter Hung Liu.\u003c/p>\n\u003cp>Liu is close friends with Ai Weiwei and grew up during China’s Cultural Revolution under Mao Tse Tung. Like Ai, whose poet father was exiled by Mao’s government and forced to clean lavatories, China’s politics and culture permeate her work. But she is wary of political art becoming too didactic.\u003c/p>\n\u003cp>“When you have a strong political agenda, strong message, you have to be careful if you want to use art form,” Liu says. Liu plans to take a serious look at Ai’s Alcatraz work, and hopes others will get past his superstar status and do the same.\u003c/p>\n\u003cp>“Ai Weiwei’s super famous. Some people call him a god,” Liu says. “I think it’s a little too far. People tried to make Mao Tse Tung a god, so in a bigger sense, I just feel like it’s important for other people to be critical.”\u003c/p>\n\u003cp>Additional reporting by Monica Lam and Adam Grossberg.\u003cbr>\n\u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b> is on view through April 26, 2015. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener noreferrer\">more information\u003c/a> visit for-site.org.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142748/exploring-freedom-and-confinement-on-alcatraz","authors":["byline_arts_10142748"],"series":["arts_582","arts_610"],"categories":["arts_70"],"tags":["arts_3181"],"featImg":"arts_10142749","label":"arts_610"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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