Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2
Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie
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New Art Space Cloaca Projects Fills a Small Room with Big Ideas
An Operatic Pairing About Troubled Relationships
Celebrating Female Joy in a Play from Lauren Gunderson
Now Playing! Pet Sounds and Local Scenery in Finn Taylor’s ‘Unleashed’
A Joint Address to Change Hearts and Minds Through Poetry
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When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.","avatar":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"news","roles":["author"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Cy Musiker | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cmusiker"},"shotchkiss":{"type":"authors","id":"61","meta":{"index":"authors_1591205172","id":"61","found":true},"name":"Sarah Hotchkiss","firstName":"Sarah","lastName":"Hotchkiss","slug":"shotchkiss","email":"shotchkiss@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Senior Associate Editor","bio":"Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.","avatar":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twitter":"sahotchkiss","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["Contributor","administrator"]},{"site":"artschool","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"spark","roles":["editor"]},{"site":"checkplease","roles":["editor"]}],"headData":{"title":"Sarah Hotchkiss | KQED","description":"Senior Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shotchkiss"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13932138":{"type":"posts","id":"arts_13932138","meta":{"index":"posts_1591205157","site":"arts","id":"13932138","score":null,"sort":[1690493066000]},"guestAuthors":[],"slug":"esteban-raheem-abdul-raheem-samayoa-pt-2","title":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","publishDate":1690493066,"format":"standard","headTitle":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Above the pt.2 gallery space on Oakland’s Webster Street, artists of all mediums work away in private studios. While musicians like Ovrkast and Demahjiae make new sounds, artists like Landon Pointer and \u003ca href=\"https://www.instagram.com/wulffvnky/?hl=en\">Esteban Raheem Abdul Raheem Samayoa\u003c/a> prepare art for upcoming shows.\u003c/p>\n\u003cp>On one side of Samayoa’s studio, big, mural-like canvases layered with black charcoal and white airbrush paint stand as tall as the artist. His first solo show in a year, \u003cem>\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>\u003c/em>, opens downstairs at pt.2 on Aug. 5 in three different rooms that represent three distinct chapters of his life: Pops, Esteban Samayoa and Raheem Abdul Raheem.\u003c/p>\n\u003cfigure id=\"attachment_13932173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg\" alt=\"Young man in work apron and black skullcap sits with hands clasped in front of a blank canvas\" width=\"800\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-768x1148.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa in his studio. \u003ccite>(Photo by Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show will start with black-and-white imagery from Samayoa’s childhood in Sacramento, the next room will reference the inspiration he found in his Latino culture, and the last space will document his journey to the Islamic faith. It’s an ambitious presentation for the 29-year-old artist, representing months of work and spanning over a dozen paintings and sculptures, many of them large-scale.\u003c/p>\n\u003cp>Samayoa, who grew up in a Mexican and Guatemalan household, and attended mosque with friends and neighbors, was always drawn to art. His mom told him he was drawing at the age of three — and not the normal stick figures with a sun in the corner of the page. “She was like, ‘You understood the concept of how a figure looks like, how people look, how cars look. And you were drawing that at a young age,’” he says. “That has always stuck with me.”\u003c/p>\n\u003cp>Imagery from his Sacramento days shows up throughout his work. Dogs are a constant motif; some of his first drawings depicted \u003ca href=\"https://metro-goldwyn-mayer-cartoons.fandom.com/wiki/Slick_Wolf\">Slick Wolf\u003c/a> from the old Tex Avery cartoons. Like his father and grandfather — who drove classic Cadillacs — the wolf drove nice cars. As he got older, Samayoa saw himself in dogs like the Doberman and rottweiler breeds, which have connotations of being dangerous. With tattoos on his face and hands, people can initially judge him as a threat, but just like the dogs he grew up with, he’s the opposite: a soft-spoken, kind person.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Samayoa moved to Oakland from Sacramento in 2018, taking the leap to being a full-time artist with the hopes of making a living off his art. That two-hour distance from home created the space to grow his confidence in both himself and his work. Showing at places like \u003ca href=\"https://www.swimgallery.com/exhibitions\">Swim Gallery\u003c/a> and \u003ca href=\"https://goodmothergallery.com/artists/50-esteban-samayoa/\">Good Mother Gallery\u003c/a>, he began to build an artistic network. He was gaining momentum — and then the pandemic hit.\u003c/p>\n\u003cp>For many, including Samayoa, the pandemic meant more time at home, but also more time to dedicate to his craft. And that extra $600 Gavin Newsom was giving out was unmatched. Samayoa used his time and money to further develop his “Pops”-era style: airbrushed black-and-white imagery that looks like it could live on a big T-shirt back in the early 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13932175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg\" alt=\"Complex black-and-white painting with airbrushed figures, dogs, teeth and chain-link fence\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa, ‘All in the Family,’ 2023; Acrylic on canvas, 72 x 84 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he works with charcoal on raw canvas surfaces, Samayoa’s labor is evident. “It’s kind of painterly because I lay it on pretty thick, and I have to blend it with a rag or paper towel to really get it in the fibers of the cloth,” he says. “I knew I was a natural with charcoal, and I just ran with that.”\u003c/p>\n\u003cp>That assurance is hard-won. Though his shows at Good Mother and Swim Gallery went well, he sold nothing out of a later group show at pt.2. It was a blow to his confidence as an artist, and he took a step back from showing his work.\u003c/p>\n\u003cp>“I was like, ‘Yo, maybe I’m not who I thought I was right now,’” he says. “But at the same time, I’m like, ‘Oh, every artist goes through this.’ I really need to sit down and focus on my practice and what’s important.”\u003c/p>\n\u003cp>Taking that time to recenter, he saw that he wanted to tell his audiences a more complete story of his life. In the “Esteban” section of \u003cem>Ain’t No Dogs In Heaven\u003c/em>, his oil and oil pastel paintings reflect on his Mexican and Guatemalan background — and show him branching out from black and white for the first time. “These color works, it’s kind of me just exploring my heritage from a new perspective,” he says. In the show’s final section, made up of cast prayer rugs and other installation elements, audiences will get a sense of where he is now, after his conversation to Islam.\u003c/p>\n\u003cfigure id=\"attachment_13932180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg\" alt=\"Vertical painting in reds and browns of two dogs' faces overlapping\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa, ‘Dos Peritos (For the dogs),’ 2023; Oil, oil pastel on canvas, 26 x 20 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, Samayoa’s artworks will lead viewers through both the constants of his life and the different stages of his experiences: dealing with the realities of having two absent parents, his love for dogs, the cars he saw his dad drive, and his new sense of self as Raheem Abdul Raheem.\u003c/p>\n\u003cp>At this point, Samayoa feels like he has finally exited survival mode. Like everyone, he says, he has made mistakes in the past that made him think, “Maybe I’m not going to heaven.” But with \u003cem>Ain’t No Dogs In Heaven\u003c/em>, Samayoa has gained a sense of freedom in his life. Art is his end goal, but at the same time, he wants his work to reach people who might not see themselves in gallery spaces — people who look like him and come from his various communities.\u003c/p>\n\u003cp>“I just want this show to inspire other people,” he says. “I just want to do as much talking about it because I think it’s important, the mental state of our community. That is what this show is, the growth that we all have within ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>’ is on view at pt.2 gallery (1523b Webster St., Oakland) Aug. 5–Sept. 9, 2023.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Ain’t No Dogs in Heaven’ draws from the artist’s Sacramento childhood while embracing his Latino heritage and Islamic faith.","status":"publish","parent":0,"modified":1705005224,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1087},"headData":{"title":"Esteban Samayoa Makes His Solo Debut at Oakland’s pt.2 Gallery | KQED","description":"‘Ain’t No Dogs in Heaven’ draws from the artist’s Sacramento childhood while embracing his Latino heritage and Islamic faith.","ogTitle":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","ogDescription":"","ogImgId":"","twTitle":"Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2","twDescription":"","twImgId":"","socialTitle":"Esteban Samayoa Makes His Solo Debut at Oakland’s pt.2 Gallery %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Nia Coats","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932138/esteban-raheem-abdul-raheem-samayoa-pt-2","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above the pt.2 gallery space on Oakland’s Webster Street, artists of all mediums work away in private studios. While musicians like Ovrkast and Demahjiae make new sounds, artists like Landon Pointer and \u003ca href=\"https://www.instagram.com/wulffvnky/?hl=en\">Esteban Raheem Abdul Raheem Samayoa\u003c/a> prepare art for upcoming shows.\u003c/p>\n\u003cp>On one side of Samayoa’s studio, big, mural-like canvases layered with black charcoal and white airbrush paint stand as tall as the artist. His first solo show in a year, \u003cem>\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>\u003c/em>, opens downstairs at pt.2 on Aug. 5 in three different rooms that represent three distinct chapters of his life: Pops, Esteban Samayoa and Raheem Abdul Raheem.\u003c/p>\n\u003cfigure id=\"attachment_13932173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg\" alt=\"Young man in work apron and black skullcap sits with hands clasped in front of a blank canvas\" width=\"800\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-768x1148.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa in his studio. \u003ccite>(Photo by Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show will start with black-and-white imagery from Samayoa’s childhood in Sacramento, the next room will reference the inspiration he found in his Latino culture, and the last space will document his journey to the Islamic faith. It’s an ambitious presentation for the 29-year-old artist, representing months of work and spanning over a dozen paintings and sculptures, many of them large-scale.\u003c/p>\n\u003cp>Samayoa, who grew up in a Mexican and Guatemalan household, and attended mosque with friends and neighbors, was always drawn to art. His mom told him he was drawing at the age of three — and not the normal stick figures with a sun in the corner of the page. “She was like, ‘You understood the concept of how a figure looks like, how people look, how cars look. And you were drawing that at a young age,’” he says. “That has always stuck with me.”\u003c/p>\n\u003cp>Imagery from his Sacramento days shows up throughout his work. Dogs are a constant motif; some of his first drawings depicted \u003ca href=\"https://metro-goldwyn-mayer-cartoons.fandom.com/wiki/Slick_Wolf\">Slick Wolf\u003c/a> from the old Tex Avery cartoons. Like his father and grandfather — who drove classic Cadillacs — the wolf drove nice cars. As he got older, Samayoa saw himself in dogs like the Doberman and rottweiler breeds, which have connotations of being dangerous. With tattoos on his face and hands, people can initially judge him as a threat, but just like the dogs he grew up with, he’s the opposite: a soft-spoken, kind person.\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>Samayoa moved to Oakland from Sacramento in 2018, taking the leap to being a full-time artist with the hopes of making a living off his art. That two-hour distance from home created the space to grow his confidence in both himself and his work. Showing at places like \u003ca href=\"https://www.swimgallery.com/exhibitions\">Swim Gallery\u003c/a> and \u003ca href=\"https://goodmothergallery.com/artists/50-esteban-samayoa/\">Good Mother Gallery\u003c/a>, he began to build an artistic network. He was gaining momentum — and then the pandemic hit.\u003c/p>\n\u003cp>For many, including Samayoa, the pandemic meant more time at home, but also more time to dedicate to his craft. And that extra $600 Gavin Newsom was giving out was unmatched. Samayoa used his time and money to further develop his “Pops”-era style: airbrushed black-and-white imagery that looks like it could live on a big T-shirt back in the early 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13932175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg\" alt=\"Complex black-and-white painting with airbrushed figures, dogs, teeth and chain-link fence\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa, ‘All in the Family,’ 2023; Acrylic on canvas, 72 x 84 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he works with charcoal on raw canvas surfaces, Samayoa’s labor is evident. “It’s kind of painterly because I lay it on pretty thick, and I have to blend it with a rag or paper towel to really get it in the fibers of the cloth,” he says. “I knew I was a natural with charcoal, and I just ran with that.”\u003c/p>\n\u003cp>That assurance is hard-won. Though his shows at Good Mother and Swim Gallery went well, he sold nothing out of a later group show at pt.2. It was a blow to his confidence as an artist, and he took a step back from showing his work.\u003c/p>\n\u003cp>“I was like, ‘Yo, maybe I’m not who I thought I was right now,’” he says. “But at the same time, I’m like, ‘Oh, every artist goes through this.’ I really need to sit down and focus on my practice and what’s important.”\u003c/p>\n\u003cp>Taking that time to recenter, he saw that he wanted to tell his audiences a more complete story of his life. In the “Esteban” section of \u003cem>Ain’t No Dogs In Heaven\u003c/em>, his oil and oil pastel paintings reflect on his Mexican and Guatemalan background — and show him branching out from black and white for the first time. “These color works, it’s kind of me just exploring my heritage from a new perspective,” he says. In the show’s final section, made up of cast prayer rugs and other installation elements, audiences will get a sense of where he is now, after his conversation to Islam.\u003c/p>\n\u003cfigure id=\"attachment_13932180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg\" alt=\"Vertical painting in reds and browns of two dogs' faces overlapping\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa, ‘Dos Peritos (For the dogs),’ 2023; Oil, oil pastel on canvas, 26 x 20 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, Samayoa’s artworks will lead viewers through both the constants of his life and the different stages of his experiences: dealing with the realities of having two absent parents, his love for dogs, the cars he saw his dad drive, and his new sense of self as Raheem Abdul Raheem.\u003c/p>\n\u003cp>At this point, Samayoa feels like he has finally exited survival mode. Like everyone, he says, he has made mistakes in the past that made him think, “Maybe I’m not going to heaven.” But with \u003cem>Ain’t No Dogs In Heaven\u003c/em>, Samayoa has gained a sense of freedom in his life. Art is his end goal, but at the same time, he wants his work to reach people who might not see themselves in gallery spaces — people who look like him and come from his various communities.\u003c/p>\n\u003cp>“I just want this show to inspire other people,” he says. “I just want to do as much talking about it because I think it’s important, the mental state of our community. That is what this show is, the growth that we all have within ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>’ is on view at pt.2 gallery (1523b Webster St., Oakland) Aug. 5–Sept. 9, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932138/esteban-raheem-abdul-raheem-samayoa-pt-2","authors":["byline_arts_13932138"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_2636","arts_1009","arts_1401","arts_16266","arts_585"],"featImg":"arts_13932177","label":"arts_140"},"arts_13864853":{"type":"posts","id":"arts_13864853","meta":{"index":"posts_1591205157","site":"arts","id":"13864853","score":null,"sort":[1566848206000]},"guestAuthors":[],"slug":"now-playing-independent-spirit-fuels-give-me-liberty-at-the-roxie","title":"Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie","publishDate":1566848206,"format":"standard","headTitle":"Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Life is hard, and then you drive. Harried Milwaukee paratransit driver Vic can’t say no to anybody, which makes him an empathetic caregiver and also perennially and perpetually late. Vic (played by newcomer Chris Galust, who sounds and looks like Casey Affleck, only likable) is the hub and the heart of \u003cem>Give Me Liberty\u003c/em>, a wonderfully chaotic seriocomedy from America’s depressed heartland playing the \u003ca href=\"https://www.roxie.com/ai1ec_event/give-me-liberty/?instance_id=35907\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> for a week starting this Friday, Aug. 30.\u003c/p>\n\u003cp>Vic is behind schedule almost immediately, thanks to his Russian grandfather’s sluggishness and stubbornness. Yet he agrees to drive a group of Russian Jews to a funeral, an errand which turns into a four-lane clusterfudge of detours, mix-ups and cross-cultural bonding, the latter at a facility for differently abled people where one of Vic’s scheduled passengers is slated to sing “Rock Around the Clock” at a talent show. (The movie’s musical palette also encompasses a wealth of accordion and a poignant passage or two from John Lee Hooker.)\u003c/p>\n\u003cfigure id=\"attachment_13864862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13864862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-1020x622.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another regular rider, a sharply intelligent young woman with ALS named Tracy, gives Vic (and the movie) access to the dynamics of a multi-generational black family. While Vic holds the movie’s big-hearted center, Dima (Maksim Stoyanov) is its full-tilt motor. A fast-talking Russian who claims to be the deceased’s nephew, Dima charms and schemes himself, Vic and the 10-year-old Dodge van through a day crammed with incident and interaction. \u003c/p>\n\u003cp>A crime-free cousin of the Safdie brothers’ frenetic 2017 romp \u003cem>Good Time\u003c/em>, \u003cem>Give Me Liberty\u003c/em> revels in the gray streets and prosaic homes—and the vibrant people relegated to solitary, interior worlds by circumstance and/or disability—invisible to most moviemakers. Inspired by his own experience, writer-director Kirill Mikhanovsky, working with writer-producer Alice Austen and a cast of nonprofessionals, achieves something far greater, though, than a slice of gritty, messy, dogged Midwestern life.\u003c/p>\n\u003cfigure id=\"attachment_13864864\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13864864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Give Me Liberty\u003c/em> is an affirmation of foundational American ideals, particularly a responsibility to other people that supersedes one’s own needs. Vic embodies this ethos, but it’s all around him, manifested at one time or another by nearly every character in the film. The characters in this mad mosaic are striving for independence, yet they all accept that the quickest route involves cooperation, not selfishness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Righteously generous without being moralizing or politically correct, \u003cem>Give Me Liberty\u003c/em> shines a slim ray of light on the contemporary landscape. With Vic behind the wheel, it’s enough to navigate by. And for tramps like us, that might just be the best we can hope for in 2019.\u003c/p>\n\n","blocks":[],"excerpt":"This wonderfully chaotic seriocomedy about a Milwaukee paratransit driver is an affirmation of foundational American ideals.","status":"publish","parent":0,"modified":1705022259,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":477},"headData":{"title":"Now Playing! Independent Spirit Fuels ‘Give Me Liberty’ at the Roxie | KQED","description":"This wonderfully chaotic seriocomedy about a Milwaukee paratransit driver is an affirmation of foundational American ideals.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864853/now-playing-independent-spirit-fuels-give-me-liberty-at-the-roxie","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Life is hard, and then you drive. Harried Milwaukee paratransit driver Vic can’t say no to anybody, which makes him an empathetic caregiver and also perennially and perpetually late. Vic (played by newcomer Chris Galust, who sounds and looks like Casey Affleck, only likable) is the hub and the heart of \u003cem>Give Me Liberty\u003c/em>, a wonderfully chaotic seriocomedy from America’s depressed heartland playing the \u003ca href=\"https://www.roxie.com/ai1ec_event/give-me-liberty/?instance_id=35907\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> for a week starting this Friday, Aug. 30.\u003c/p>\n\u003cp>Vic is behind schedule almost immediately, thanks to his Russian grandfather’s sluggishness and stubbornness. Yet he agrees to drive a group of Russian Jews to a funeral, an errand which turns into a four-lane clusterfudge of detours, mix-ups and cross-cultural bonding, the latter at a facility for differently abled people where one of Vic’s scheduled passengers is slated to sing “Rock Around the Clock” at a talent show. (The movie’s musical palette also encompasses a wealth of accordion and a poignant passage or two from John Lee Hooker.)\u003c/p>\n\u003cfigure id=\"attachment_13864862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13864862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-1020x622.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another regular rider, a sharply intelligent young woman with ALS named Tracy, gives Vic (and the movie) access to the dynamics of a multi-generational black family. While Vic holds the movie’s big-hearted center, Dima (Maksim Stoyanov) is its full-tilt motor. A fast-talking Russian who claims to be the deceased’s nephew, Dima charms and schemes himself, Vic and the 10-year-old Dodge van through a day crammed with incident and interaction. \u003c/p>\n\u003cp>A crime-free cousin of the Safdie brothers’ frenetic 2017 romp \u003cem>Good Time\u003c/em>, \u003cem>Give Me Liberty\u003c/em> revels in the gray streets and prosaic homes—and the vibrant people relegated to solitary, interior worlds by circumstance and/or disability—invisible to most moviemakers. Inspired by his own experience, writer-director Kirill Mikhanovsky, working with writer-producer Alice Austen and a cast of nonprofessionals, achieves something far greater, though, than a slice of gritty, messy, dogged Midwestern life.\u003c/p>\n\u003cfigure id=\"attachment_13864864\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13864864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Give Me Liberty\u003c/em> is an affirmation of foundational American ideals, particularly a responsibility to other people that supersedes one’s own needs. Vic embodies this ethos, but it’s all around him, manifested at one time or another by nearly every character in the film. The characters in this mad mosaic are striving for independence, yet they all accept that the quickest route involves cooperation, not selfishness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Righteously generous without being moralizing or politically correct, \u003cem>Give Me Liberty\u003c/em> shines a slim ray of light on the contemporary landscape. With Vic behind the wheel, it’s enough to navigate by. And for tramps like us, that might just be the best we can hope for in 2019.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864853/now-playing-independent-spirit-fuels-give-me-liberty-at-the-roxie","authors":["22"],"categories":["arts_74"],"tags":["arts_1118","arts_596","arts_1009"],"featImg":"arts_13864863","label":"arts"},"arts_13851306":{"type":"posts","id":"arts_13851306","meta":{"index":"posts_1591205157","site":"arts","id":"13851306","score":null,"sort":[1550764803000]},"guestAuthors":[],"slug":"arthur-jafa-does-not-want-to-be-known-as-the-found-footage-guy","title":"Arthur Jafa Does Not Want to Be Known as 'The Found Footage Guy'","publishDate":1550764803,"format":"standard","headTitle":"Arthur Jafa Does Not Want to Be Known as ‘The Found Footage Guy’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Yes, the work that catapulted Arthur Jafa to art world fame, 2016’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13847145/the-bay-areas-best-visual-art-of-2018-imho\" rel=\"noopener\" target=\"_blank\">Love is the Message, the Message is Death\u003c/a>\u003c/i>, is a powerful compilation of found footage of black joy and pain set to Kanye West’s “Ultralight Beam.” \u003c/p>\n\u003cp>And yes, \u003ci>\u003ca href=\"https://bampfa.org/program/arthur-jafa-matrix-272\" rel=\"noopener\" target=\"_blank\">The White Album\u003c/a>\u003c/i>, commissioned by and currently playing at the Berkeley Art Museum and Pacific Film Archive, is also made up of found footage (this time, searing examples of whiteness in its most willfully oblivious, offensive and destructive moments).\u003c/p>\n\u003cp>But these are only recent examples of a filmmaking career—and now, a fine art career—that defies easy categorization, especially when it comes to genre and form. Jafa is comfortable in such a hard-to-pin-down space, even if the art critics of the world, determined to define him by his found-footage pieces, are not. \u003c/p>\n\u003cfigure id=\"attachment_13851314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200.jpg\" alt=\"Arthur Jafa, Still from 'Dreams are Colder than Death,' 2014.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13851314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘Dreams are Colder than Death,’ 2014. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a phone interview, I ask Jafa about the phrase “black visual intonation,” words used to describe his work in a number of reviews, exhibition texts and interviews since 2016. “No. I never said that,” he quickly replies. “I’ve said that’s \u003ci>one\u003c/i> of the concepts that I’ve been working on. A few people have articulated—have appropriated—this very specific technical ambition of mine as in some way being a meta state of my overall practice.”\u003c/p>\n\u003cp>It’s like syncopation, he says, a technique within music rather than the whole summation of a composition. If someone could fashion an overarching description of his work, which includes binders of clipped images, large-scale sculpture, art videos and feature-length films, he wouldn’t resist that. But there’s been a rush to define his work over the past two-and-a-half years, and as Jafa says, “It’s been a lot.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People are trying to get a handle on what it is. Which I think ought to be difficult because I don’t know myself,” he jokes. “I’m really good about talking about my process and what my aesthetic ambitions are, but as far as a specific work is about X, Y, Z—I’m not so sure I’m the best person to talk to.”\u003c/p>\n\u003cp>Jafa, who lives in Los Angeles, will have a chance to talk about his process and aesthetic ambitions (and not X, Y, and Z) on Feb. 27, when he appears at BAMPFA in conversation with UC Berkeley profession Leigh Raiford to screen the sold-out \u003ci>\u003ca href=\"https://bampfa.org/event/dreams-are-colder-death\" rel=\"noopener\" target=\"_blank\">Dreams are Colder than Death\u003c/a>\u003c/i>. His 2013 quasi-documentary features filmmakers, activists and intellectuals reflecting on the aftermath of the civil rights movement—or as Jafa calls it, the movement’s “afterlife.”\u003c/p>\n\u003cfigure id=\"attachment_13851313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200.jpg\" alt=\"Arthur Jafa, Still from 'Dreams are Colder than Death,' 2013.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13851313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘Dreams are Colder than Death,’ 2013. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following day, Feb. 28, Jafa steps onstage again, this time with writer and musician Greg Tate. The two will discuss a program titled “\u003ca href=\"https://bampfa.org/event/affective-proximity-films-arthur-jafa-and-others\" rel=\"noopener\" target=\"_blank\">Affective Proximity\u003c/a>,” which mingles works by Jafa with pieces he selected as precedents or parallels to his own interest in depicting black visual culture.\u003c/p>\n\u003cp>“I just chose things I thought were dope,” he says by way of curatorial explanation. The program includes a 1991 piece by Dawn Suggs and a 1979 film by Ben Caldwell, both dealing with the personal or familial legacy of violence. \u003c/p>\n\u003cp>“There were a couple instances where things had kind of been out of circulation. So hopefully this will help them return to circulation as I think they’re very interesting works,” Jafa says. The Feb. 28 program, in keeping with Jafa’s propensity to mingle “high” and “low,” rounds out with a few YouTube clips. \u003c/p>\n\u003cp>“There’s always stuff bubbling up on the internet and I think it’s fascinating,” he says, “You know, I just saw the other day a clip of a 17- or 18-year-old Mike Tyson working out and it’s kind of mesmerizing—and scary! Hitting the pads like a lunatic.”\u003c/p>\n\u003cfigure id=\"attachment_13851308\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200.jpg\" alt=\"Arthur Jafa, Still from 'The White Album,' 2018.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13851308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘The White Album,’ 2018. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; commissioned by BAMPFA; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though Jafa identifies the internet as a source for intriguing material—and an interesting technological loop of both “feed and feeder”—he says the impulse to stockpile footage has been in him long before internet video came on the scene. “I always collected Betamax tapes, VHS tapes,” he says. “I mean, I spent an inordinate amount of time recording things off of television and cable.”\u003c/p>\n\u003cp>But again, he doesn’t want to be “the found footage guy,” and for good reason. His work on \u003cem>Daughters of the Dust\u003c/em>, Julie Dash’s 1991 film, was groundbreaking enough to be cited as a direct influence on Beyoncé’s epic album-length film \u003cem>Lemonade\u003c/em>. He worked alongside Spike Lee on \u003cem>Crooklyn\u003c/em>. And in 2016, he served as cinematographer on two videos by Beyoncé’s sister, the singer Solange. He even hints at a feature film project that he has in the works, fingers crossed.\u003c/p>\n\u003cp>“I’m not sure a film is just one thing, but I want to make clear somewhat the intentionality around what I’m doing,” he adds.\u003c/p>\n\u003cp>“People feel like it was fluke a little bit,” he says of his rapid path from filmmaker and cinematographer to artist with gallery representation, international exhibitions and work in museum collections. And to a certain extent that’s true: He never anticipated the response \u003ci>Love is the Message\u003c/i> and \u003ci>APEX\u003c/i> (a 2013 video of rapid-fire found images) garnered.\u003c/p>\n\u003cfigure id=\"attachment_13851309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-800x450.jpg\" alt=\"Arthur Jafa, Still from 'The White Album,' 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13851309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘The White Album,’ 2018. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; commissioned by BAMPFA; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But they are both the product of having thought and exercised my ability or capacity to structure those images in a certain kind of way,” he says. “Because it comes in the guise of found footage, people take to be a little more off-the-cuff than what it is.”\u003c/p>\n\u003cp>\u003ci>APEX\u003c/i>, in particular, reads like a Rorschach test. The only identifiable images are those you’re already familiar with, aspects of your own visual culture. Other stills blink past without recognition, leaving, at the end of an exhausting nine minutes, an overwhelming sense of how much \u003ci>wasn’t\u003c/i> absorbed.\u003c/p>\n\u003cp>It creates the affective emotional force Jafa strives to attain, the easy packaging and processing of which he remains wary. \u003c/p>\n\u003cp>With \u003ci>Love is the Message\u003c/i>, the uncritical responses Jafa kept hearing from audiences—particularly white audiences—made him queasy. “Some people told me, ‘I cried when I saw it,’” he says. “One of the things I wanted to achieve was to move people, but then to what end?”\u003c/p>\n\u003cp>This reaction, and Jafa’s openness about it (it’s \u003ca href=\"https://www.theguardian.com/artanddesign/2018/dec/11/arthur-jafa-video-artist-love-is-the-message\" rel=\"noopener\" target=\"_blank\">not the first time\u003c/a> he’s expressed this disappointment in an interview) is rare in the world of fine art, where finished works emerge from artists’ studios and remain unchanged henceforth. \u003c/p>\n\u003cfigure id=\"attachment_13851310\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200.jpg\" alt=\"Arthur Jafa, Still from 'The White Album,' 2018.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13851310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘The White Album,’ 2018. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; commissioned by BAMPFA; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It makes sense, then, that \u003ci>The White Album\u003c/i> is intended to grow and change over time. This summer, when it will be included in the Venice Biennale, it will be 20 or 30 minutes longer, Jafa says, than the current BAMPFA incarnation. \u003c/p>\n\u003cp>Ignoring the time-honored “way things are usually done” is a Jafa specialty. And being confident in his ability to create art is a product of working so long to develop his particular approaches to structure and image. (It doesn’t hurt either, he says, to be older, have a great gallery and make more money.)\u003c/p>\n\u003cp>And he says, “There’s a lot more brothers and sisters up in this thing now—and a lot more women now too. So it’s just a little more pleasant to be around, frankly, not as alienating. I know it’s easier on my soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Arthur Jafa will be present for the sold-out screening of ‘Dreams are Colder than Death,’ on Feb. 27 and ‘Affective Proximity: Films by Arthur Jafa and Others’ at 7pm on Feb. 28, both at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/arthur-jafa-matrix-272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The artist and filmmaker stops by BAMPFA next week for two film programs featuring his own work and others'.","status":"publish","parent":0,"modified":1705026567,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1513},"headData":{"title":"Arthur Jafa Does Not Want to Be Known as 'The Found Footage Guy' | KQED","description":"The artist and filmmaker stops by BAMPFA next week for two film programs featuring his own work and others'.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13851306/arthur-jafa-does-not-want-to-be-known-as-the-found-footage-guy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, the work that catapulted Arthur Jafa to art world fame, 2016’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13847145/the-bay-areas-best-visual-art-of-2018-imho\" rel=\"noopener\" target=\"_blank\">Love is the Message, the Message is Death\u003c/a>\u003c/i>, is a powerful compilation of found footage of black joy and pain set to Kanye West’s “Ultralight Beam.” \u003c/p>\n\u003cp>And yes, \u003ci>\u003ca href=\"https://bampfa.org/program/arthur-jafa-matrix-272\" rel=\"noopener\" target=\"_blank\">The White Album\u003c/a>\u003c/i>, commissioned by and currently playing at the Berkeley Art Museum and Pacific Film Archive, is also made up of found footage (this time, searing examples of whiteness in its most willfully oblivious, offensive and destructive moments).\u003c/p>\n\u003cp>But these are only recent examples of a filmmaking career—and now, a fine art career—that defies easy categorization, especially when it comes to genre and form. Jafa is comfortable in such a hard-to-pin-down space, even if the art critics of the world, determined to define him by his found-footage pieces, are not. \u003c/p>\n\u003cfigure id=\"attachment_13851314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200.jpg\" alt=\"Arthur Jafa, Still from 'Dreams are Colder than Death,' 2014.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13851314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_005_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘Dreams are Colder than Death,’ 2014. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a phone interview, I ask Jafa about the phrase “black visual intonation,” words used to describe his work in a number of reviews, exhibition texts and interviews since 2016. “No. I never said that,” he quickly replies. “I’ve said that’s \u003ci>one\u003c/i> of the concepts that I’ve been working on. A few people have articulated—have appropriated—this very specific technical ambition of mine as in some way being a meta state of my overall practice.”\u003c/p>\n\u003cp>It’s like syncopation, he says, a technique within music rather than the whole summation of a composition. If someone could fashion an overarching description of his work, which includes binders of clipped images, large-scale sculpture, art videos and feature-length films, he wouldn’t resist that. But there’s been a rush to define his work over the past two-and-a-half years, and as Jafa says, “It’s been a lot.”\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>“People are trying to get a handle on what it is. Which I think ought to be difficult because I don’t know myself,” he jokes. “I’m really good about talking about my process and what my aesthetic ambitions are, but as far as a specific work is about X, Y, Z—I’m not so sure I’m the best person to talk to.”\u003c/p>\n\u003cp>Jafa, who lives in Los Angeles, will have a chance to talk about his process and aesthetic ambitions (and not X, Y, and Z) on Feb. 27, when he appears at BAMPFA in conversation with UC Berkeley profession Leigh Raiford to screen the sold-out \u003ci>\u003ca href=\"https://bampfa.org/event/dreams-are-colder-death\" rel=\"noopener\" target=\"_blank\">Dreams are Colder than Death\u003c/a>\u003c/i>. His 2013 quasi-documentary features filmmakers, activists and intellectuals reflecting on the aftermath of the civil rights movement—or as Jafa calls it, the movement’s “afterlife.”\u003c/p>\n\u003cfigure id=\"attachment_13851313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200.jpg\" alt=\"Arthur Jafa, Still from 'Dreams are Colder than Death,' 2013.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13851313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Jafa_Dreams-Are-Colder-than-Death_001_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘Dreams are Colder than Death,’ 2013. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following day, Feb. 28, Jafa steps onstage again, this time with writer and musician Greg Tate. The two will discuss a program titled “\u003ca href=\"https://bampfa.org/event/affective-proximity-films-arthur-jafa-and-others\" rel=\"noopener\" target=\"_blank\">Affective Proximity\u003c/a>,” which mingles works by Jafa with pieces he selected as precedents or parallels to his own interest in depicting black visual culture.\u003c/p>\n\u003cp>“I just chose things I thought were dope,” he says by way of curatorial explanation. The program includes a 1991 piece by Dawn Suggs and a 1979 film by Ben Caldwell, both dealing with the personal or familial legacy of violence. \u003c/p>\n\u003cp>“There were a couple instances where things had kind of been out of circulation. So hopefully this will help them return to circulation as I think they’re very interesting works,” Jafa says. The Feb. 28 program, in keeping with Jafa’s propensity to mingle “high” and “low,” rounds out with a few YouTube clips. \u003c/p>\n\u003cp>“There’s always stuff bubbling up on the internet and I think it’s fascinating,” he says, “You know, I just saw the other day a clip of a 17- or 18-year-old Mike Tyson working out and it’s kind of mesmerizing—and scary! Hitting the pads like a lunatic.”\u003c/p>\n\u003cfigure id=\"attachment_13851308\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200.jpg\" alt=\"Arthur Jafa, Still from 'The White Album,' 2018.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13851308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_003_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘The White Album,’ 2018. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; commissioned by BAMPFA; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though Jafa identifies the internet as a source for intriguing material—and an interesting technological loop of both “feed and feeder”—he says the impulse to stockpile footage has been in him long before internet video came on the scene. “I always collected Betamax tapes, VHS tapes,” he says. “I mean, I spent an inordinate amount of time recording things off of television and cable.”\u003c/p>\n\u003cp>But again, he doesn’t want to be “the found footage guy,” and for good reason. His work on \u003cem>Daughters of the Dust\u003c/em>, Julie Dash’s 1991 film, was groundbreaking enough to be cited as a direct influence on Beyoncé’s epic album-length film \u003cem>Lemonade\u003c/em>. He worked alongside Spike Lee on \u003cem>Crooklyn\u003c/em>. And in 2016, he served as cinematographer on two videos by Beyoncé’s sister, the singer Solange. He even hints at a feature film project that he has in the works, fingers crossed.\u003c/p>\n\u003cp>“I’m not sure a film is just one thing, but I want to make clear somewhat the intentionality around what I’m doing,” he adds.\u003c/p>\n\u003cp>“People feel like it was fluke a little bit,” he says of his rapid path from filmmaker and cinematographer to artist with gallery representation, international exhibitions and work in museum collections. And to a certain extent that’s true: He never anticipated the response \u003ci>Love is the Message\u003c/i> and \u003ci>APEX\u003c/i> (a 2013 video of rapid-fire found images) garnered.\u003c/p>\n\u003cfigure id=\"attachment_13851309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-800x450.jpg\" alt=\"Arthur Jafa, Still from 'The White Album,' 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13851309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_004_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘The White Album,’ 2018. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; commissioned by BAMPFA; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But they are both the product of having thought and exercised my ability or capacity to structure those images in a certain kind of way,” he says. “Because it comes in the guise of found footage, people take to be a little more off-the-cuff than what it is.”\u003c/p>\n\u003cp>\u003ci>APEX\u003c/i>, in particular, reads like a Rorschach test. The only identifiable images are those you’re already familiar with, aspects of your own visual culture. Other stills blink past without recognition, leaving, at the end of an exhausting nine minutes, an overwhelming sense of how much \u003ci>wasn’t\u003c/i> absorbed.\u003c/p>\n\u003cp>It creates the affective emotional force Jafa strives to attain, the easy packaging and processing of which he remains wary. \u003c/p>\n\u003cp>With \u003ci>Love is the Message\u003c/i>, the uncritical responses Jafa kept hearing from audiences—particularly white audiences—made him queasy. “Some people told me, ‘I cried when I saw it,’” he says. “One of the things I wanted to achieve was to move people, but then to what end?”\u003c/p>\n\u003cp>This reaction, and Jafa’s openness about it (it’s \u003ca href=\"https://www.theguardian.com/artanddesign/2018/dec/11/arthur-jafa-video-artist-love-is-the-message\" rel=\"noopener\" target=\"_blank\">not the first time\u003c/a> he’s expressed this disappointment in an interview) is rare in the world of fine art, where finished works emerge from artists’ studios and remain unchanged henceforth. \u003c/p>\n\u003cfigure id=\"attachment_13851310\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200.jpg\" alt=\"Arthur Jafa, Still from 'The White Album,' 2018.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13851310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/BAMPFA_Jafa_12-18_005_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Jafa, Still from ‘The White Album,’ 2018. \u003ccite>(Courtesy the artist and Gavin Brown's enterprise, New York / Rome; commissioned by BAMPFA; © Arthur Jafa, 2018)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It makes sense, then, that \u003ci>The White Album\u003c/i> is intended to grow and change over time. This summer, when it will be included in the Venice Biennale, it will be 20 or 30 minutes longer, Jafa says, than the current BAMPFA incarnation. \u003c/p>\n\u003cp>Ignoring the time-honored “way things are usually done” is a Jafa specialty. And being confident in his ability to create art is a product of working so long to develop his particular approaches to structure and image. (It doesn’t hurt either, he says, to be older, have a great gallery and make more money.)\u003c/p>\n\u003cp>And he says, “There’s a lot more brothers and sisters up in this thing now—and a lot more women now too. So it’s just a little more pleasant to be around, frankly, not as alienating. I know it’s easier on my soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Arthur Jafa will be present for the sold-out screening of ‘Dreams are Colder than Death,’ on Feb. 27 and ‘Affective Proximity: Films by Arthur Jafa and Others’ at 7pm on Feb. 28, both at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/arthur-jafa-matrix-272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13851306/arthur-jafa-does-not-want-to-be-known-as-the-found-footage-guy","authors":["61"],"categories":["arts_835","arts_74","arts_235","arts_70"],"tags":["arts_2227","arts_1118","arts_596","arts_1009"],"featImg":"arts_13851323","label":"arts"},"arts_13834589":{"type":"posts","id":"arts_13834589","meta":{"index":"posts_1591205157","site":"arts","id":"13834589","score":null,"sort":[1528392775000]},"guestAuthors":[],"slug":"prince-with-just-a-piano-and-a-sniffle-interprets-mary-dont-you-weep","title":"Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep'","publishDate":1528392775,"format":"standard","headTitle":"Prince, With Just a Piano and a Sniffle, Interprets ‘Mary Don’t You Weep’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"On the late legend's 60th birthday, his estate announced a new album of barebones recordings featuring just him and a piano.","status":"publish","parent":0,"modified":1705027686,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":272},"headData":{"title":"Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep' | KQED","description":"On the late legend's 60th birthday, his estate announced a new album of barebones recordings featuring just him and a piano.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Allen Beaulieu","nprByline":"Andrew Flanagan","nprImageAgency":"Courtesy of the artist","nprStoryId":"617882065","nprApiLink":"http://api.npr.org/query?id=617882065&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/allsongs/2018/06/07/617882065/prince-with-a-cold-and-longing-for-eggs-interprets-mary-dont-you-weep?ft=nprml&f=617882065","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Jun 2018 12:14:00 -0400","nprStoryDate":"Thu, 07 Jun 2018 12:14:42 -0400","nprLastModifiedDate":"Thu, 07 Jun 2018 12:14:42 -0400","path":"/arts/13834589/prince-with-just-a-piano-and-a-sniffle-interprets-mary-dont-you-weep","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13834589/prince-with-just-a-piano-and-a-sniffle-interprets-mary-dont-you-weep","authors":["byline_arts_13834589"],"categories":["arts_69","arts_235"],"tags":["arts_1448","arts_596","arts_1009","arts_1424"],"affiliates":["arts_137"],"featImg":"arts_13834590","label":"arts_137"},"arts_13823173":{"type":"posts","id":"arts_13823173","meta":{"index":"posts_1591205157","site":"arts","id":"13823173","score":null,"sort":[1517440544000]},"guestAuthors":[],"slug":"cloaca-projects-bayview-sonja-gerdes","title":"New Art Space Cloaca Projects Fills a Small Room with Big Ideas","publishDate":1517440544,"format":"standard","headTitle":"New Art Space Cloaca Projects Fills a Small Room with Big Ideas | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>One of San Francisco’s newest visual art spaces is also one of the trickiest to say out loud with confidence. (Runners-up in this category include \u003ca href=\"http://kadist.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">KADIST\u003c/a> and \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://cloacaprojects.com/\" target=\"_blank\" rel=\"noopener\">CLOACA PROJECTS\u003c/a>, the voice on the internet dictionary tells me, is pronounced \u003ca href=\"https://www.youtube.com/watch?v=kvvq0CAgsdI\" target=\"_blank\" rel=\"noopener\">cloh-AY-kuh\u003c/a>. Politely put, it’s named after the orifice that serves certain animals as an “all-purpose hole” for their digestive, reproductive and urinary tracts.\u003c/p>\n\u003cp>Cool, right? It’s not often you get a biology lesson with your art viewing. Pronunciation and etymology confirmed, you can now stride purposefully through the Bayview warehouse of \u003ca href=\"http://www.huntprojects.org/\" target=\"_blank\" rel=\"noopener\">Hunt Projects\u003c/a> (a studio and fabrication space) and into the back patio space that houses CLOACA PROJECTS, fittingly described as facilitating the “reproduction and evacuation of art.”\u003c/p>\n\u003cp>This Saturday, Feb. 3, Los Angeles and Berlin-based artist \u003ca href=\"http://www.sonjagerdes.com/\" target=\"_blank\" rel=\"noopener\">Sonja Gerdes\u003c/a> opens an exhibition at CLOACA elaborately titled \u003ci>Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Breath Amorph Genderless. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova.\u003c/i>\u003c/p>\n\u003cp>The show draws from Gerdes’ ongoing body of work called \u003ca href=\"http://www.oxygenenergizer.com/\" target=\"_blank\" rel=\"noopener\">Oxygenenergizer (OE)\u003c/a>, a conceptual science fiction project about the accessibility of air. Within OE, Gerdes imagines a future in which machines create energy from oxygen. The project manifests as “sculpture, performances, writings, spirit channeling and social activation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past examples of Gerdes’ work hint at ultramarine blue frameworks draped in black ropey masses, the artist appearing periodically to activate all of the above. To find out just what form \u003ci>Pie of Trouble\u003c/i> takes in this latest iteration, you’ll have to show up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pie of Trouble…’ is on view at CLOACA PROJECTS in San Francisco (1460 Davidson Ave) Feb. 3–April 7, 2018 on Saturdays, 12–5pm. For more information, \u003ca href=\"https://cloacaprojects.com/sonja-gerdes-pie-trouble-stays-trouble-lets-hang-breathe-oxygenenergizer-becoming-breath-amorph-genderless-animal-creature-plant-breath-soul-air-free-spiders-breathe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Sonja Gerdes brings a sci-fi narrative about the future of air to a Bayview project space.","status":"publish","parent":0,"modified":1705028629,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":325},"headData":{"title":"New Art Space Cloaca Projects Fills a Small Room with Big Ideas | KQED","description":"Sonja Gerdes brings a sci-fi narrative about the future of air to a Bayview project space.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13823173/cloaca-projects-bayview-sonja-gerdes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of San Francisco’s newest visual art spaces is also one of the trickiest to say out loud with confidence. (Runners-up in this category include \u003ca href=\"http://kadist.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">KADIST\u003c/a> and \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://cloacaprojects.com/\" target=\"_blank\" rel=\"noopener\">CLOACA PROJECTS\u003c/a>, the voice on the internet dictionary tells me, is pronounced \u003ca href=\"https://www.youtube.com/watch?v=kvvq0CAgsdI\" target=\"_blank\" rel=\"noopener\">cloh-AY-kuh\u003c/a>. Politely put, it’s named after the orifice that serves certain animals as an “all-purpose hole” for their digestive, reproductive and urinary tracts.\u003c/p>\n\u003cp>Cool, right? It’s not often you get a biology lesson with your art viewing. Pronunciation and etymology confirmed, you can now stride purposefully through the Bayview warehouse of \u003ca href=\"http://www.huntprojects.org/\" target=\"_blank\" rel=\"noopener\">Hunt Projects\u003c/a> (a studio and fabrication space) and into the back patio space that houses CLOACA PROJECTS, fittingly described as facilitating the “reproduction and evacuation of art.”\u003c/p>\n\u003cp>This Saturday, Feb. 3, Los Angeles and Berlin-based artist \u003ca href=\"http://www.sonjagerdes.com/\" target=\"_blank\" rel=\"noopener\">Sonja Gerdes\u003c/a> opens an exhibition at CLOACA elaborately titled \u003ci>Pie of Trouble. Stays Trouble. Let’s Hang. Breathe. Oxygenenergizer. Becoming With. Breath Amorph Genderless. Animal Creature Plant Breath Soul. Air For Free. Do spiders breathe? The Multiple Amorphous Us. Crown Chakra – Sahasrara Rising. Nova.\u003c/i>\u003c/p>\n\u003cp>The show draws from Gerdes’ ongoing body of work called \u003ca href=\"http://www.oxygenenergizer.com/\" target=\"_blank\" rel=\"noopener\">Oxygenenergizer (OE)\u003c/a>, a conceptual science fiction project about the accessibility of air. Within OE, Gerdes imagines a future in which machines create energy from oxygen. The project manifests as “sculpture, performances, writings, spirit channeling and social activation.”\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>Past examples of Gerdes’ work hint at ultramarine blue frameworks draped in black ropey masses, the artist appearing periodically to activate all of the above. To find out just what form \u003ci>Pie of Trouble\u003c/i> takes in this latest iteration, you’ll have to show up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pie of Trouble…’ is on view at CLOACA PROJECTS in San Francisco (1460 Davidson Ave) Feb. 3–April 7, 2018 on Saturdays, 12–5pm. For more information, \u003ca href=\"https://cloacaprojects.com/sonja-gerdes-pie-trouble-stays-trouble-lets-hang-breathe-oxygenenergizer-becoming-breath-amorph-genderless-animal-creature-plant-breath-soul-air-free-spiders-breathe/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823173/cloaca-projects-bayview-sonja-gerdes","authors":["61"],"categories":["arts_70"],"tags":["arts_1118","arts_3649","arts_596","arts_1009","arts_3797"],"featImg":"arts_13823262","label":"arts"},"arts_13823269":{"type":"posts","id":"arts_13823269","meta":{"index":"posts_1591205157","site":"arts","id":"13823269","score":null,"sort":[1517432332000]},"guestAuthors":[],"slug":"an-operatic-pairing-about-troubled-relationships","title":"An Operatic Pairing About Troubled Relationships","publishDate":1517432332,"format":"standard","headTitle":"An Operatic Pairing About Troubled Relationships | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A perfect pairing of short operas by Leonard Bernstein and San Francisco's Jake Heggie","status":"publish","parent":0,"modified":1705028635,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":302},"headData":{"title":"An Operatic Pairing About Troubled Relationships | KQED","description":"A perfect pairing of short operas by Leonard Bernstein and San Francisco's Jake Heggie","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13823269/an-operatic-pairing-about-troubled-relationships","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823269/an-operatic-pairing-about-troubled-relationships","authors":["32"],"programs":["arts_140"],"categories":["arts_69","arts_235","arts_967"],"tags":["arts_15393","arts_596","arts_1009"],"featImg":"arts_13823287","label":"arts_140"},"arts_13816840":{"type":"posts","id":"arts_13816840","meta":{"index":"posts_1591205157","site":"arts","id":"13816840","score":null,"sort":[1512598667000]},"guestAuthors":[],"slug":"celebrating-female-joy-in-a-play-from-lauren-gunderson","title":"Celebrating Female Joy in a Play from Lauren Gunderson","publishDate":1512598667,"format":"standard","headTitle":"Celebrating Female Joy in a Play from Lauren Gunderson | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Miss Bennett: Christmas at Pemberley,\u003c/em> the current production at San Jose’s City Lights Theater, is a play that’s light as a feather, with a sneakily subversive message about the charm of brainy women. It’s a sequel to \u003cem>Pride and Prejudice\u003c/em> by Lauren Gunderson and Margot Melcon, with the bookish Mary Bennett finding true love after a series of comic mishaps. It debuted last year and, noting the title and the Christmas tree lighting scene, this is definitely a holiday play that theater-loving families will appreciate. \u003c/p>\n\u003cp>Gunderson, a Bay Area resident, told me there are 16 productions of this show around the country this year. I asked her why it’s become such a quick success. “There’s something necessary and urgent and even a bit radical about celebrating joy, specifically when it’s female joy and friendship,” underson said. “And it brings people together with a warm hearted story that will make people feel really good at the end, and I think the world really needs that right now.” \u003ca href=\"https://cltc.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"This sequel to 'Pride and Prejudice' is a holiday play that's as light as a feather.","status":"publish","parent":0,"modified":1705028959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":188},"headData":{"title":"Celebrating Female Joy in a Play from Lauren Gunderson | KQED","description":"This sequel to 'Pride and Prejudice' is a holiday play that's as light as a feather.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13816840/celebrating-female-joy-in-a-play-from-lauren-gunderson","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Bennett: Christmas at Pemberley,\u003c/em> the current production at San Jose’s City Lights Theater, is a play that’s light as a feather, with a sneakily subversive message about the charm of brainy women. It’s a sequel to \u003cem>Pride and Prejudice\u003c/em> by Lauren Gunderson and Margot Melcon, with the bookish Mary Bennett finding true love after a series of comic mishaps. It debuted last year and, noting the title and the Christmas tree lighting scene, this is definitely a holiday play that theater-loving families will appreciate. \u003c/p>\n\u003cp>Gunderson, a Bay Area resident, told me there are 16 productions of this show around the country this year. I asked her why it’s become such a quick success. “There’s something necessary and urgent and even a bit radical about celebrating joy, specifically when it’s female joy and friendship,” underson said. “And it brings people together with a warm hearted story that will make people feel really good at the end, and I think the world really needs that right now.” \u003ca href=\"https://cltc.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816840/celebrating-female-joy-in-a-play-from-lauren-gunderson","authors":["32"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_596","arts_1009","arts_1072"],"featImg":"arts_13816755","label":"arts_140"},"arts_13806058":{"type":"posts","id":"arts_13806058","meta":{"index":"posts_1591205157","site":"arts","id":"13806058","score":null,"sort":[1503342047000]},"guestAuthors":[],"slug":"now-playing-pet-sounds-and-local-scenery-in-finn-taylors-unleashed","title":"Now Playing! Pet Sounds and Local Scenery in Finn Taylor’s ‘Unleashed’","publishDate":1503342047,"format":"standard","headTitle":"Now Playing! Pet Sounds and Local Scenery in Finn Taylor’s ‘Unleashed’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Twenty years after his marvelous indie debut, \u003cem>Dream with the Fishes\u003c/em>, and a decade removed from his last feature (\u003cem>The Darwin Awards\u003c/em>), East Bay writer-director Finn Taylor remains as whimsically empathetic as ever. \u003c/p>\n\u003cp>His fascination with the urgent and often ridiculous need for intimate connection reaches a kind of extreme in his new pastel-hued, pop hook-infused romantic comedy, \u003cem>Unleashed\u003c/em>: The heroine, played by the winsome Kate Micucci, discovers in her trusted pets the comfort and companionship that evades her among our species. Taylor’s fourth feature premiered last fall at the Mill Valley Film Festival and opens Friday, Aug. 25 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/unleashed/?instance_id=21592\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> (after a one-night stand at the Smith Rafael Film Center tonight, Aug. 21). Taylor will be on hand for Q&As tonight at the San Rafael show and next Saturday and Sunday nights in San Francisco.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/219639076?color=ffffff&title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Before your imagination darts down dark alleys, the conceit of the film is that a freak astronomical event transforms her cat and dog into human beings or, rather, amusing upright versions of themselves (played by a sleekly sexy Justin Chatwin and a goofily husky Steve Howey, respectively). \u003c/p>\n\u003cp>Taylor has a lot of fun injecting animal behavior into everyday situations, and gently mocking the awkwardness of interpersonal interactions. But his central concern is the human yearning to avoid loneliness. Crammed with locations all around the bay, \u003cem>Unleashed\u003c/em> is an endearing and oddly touching date movie for those who love people as much as they do animals. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The East Bay writer-director's fascination with the need for intimate connection reaches a kind of extreme in his new romantic comedy.","status":"publish","parent":0,"modified":1705029718,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":252},"headData":{"title":"Now Playing! Pet Sounds and Local Scenery in Finn Taylor’s ‘Unleashed’ | KQED","description":"The East Bay writer-director's fascination with the need for intimate connection reaches a kind of extreme in his new romantic comedy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13806058/now-playing-pet-sounds-and-local-scenery-in-finn-taylors-unleashed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years after his marvelous indie debut, \u003cem>Dream with the Fishes\u003c/em>, and a decade removed from his last feature (\u003cem>The Darwin Awards\u003c/em>), East Bay writer-director Finn Taylor remains as whimsically empathetic as ever. \u003c/p>\n\u003cp>His fascination with the urgent and often ridiculous need for intimate connection reaches a kind of extreme in his new pastel-hued, pop hook-infused romantic comedy, \u003cem>Unleashed\u003c/em>: The heroine, played by the winsome Kate Micucci, discovers in her trusted pets the comfort and companionship that evades her among our species. Taylor’s fourth feature premiered last fall at the Mill Valley Film Festival and opens Friday, Aug. 25 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/unleashed/?instance_id=21592\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> (after a one-night stand at the Smith Rafael Film Center tonight, Aug. 21). Taylor will be on hand for Q&As tonight at the San Rafael show and next Saturday and Sunday nights in San Francisco.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/219639076?color=ffffff&title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Before your imagination darts down dark alleys, the conceit of the film is that a freak astronomical event transforms her cat and dog into human beings or, rather, amusing upright versions of themselves (played by a sleekly sexy Justin Chatwin and a goofily husky Steve Howey, respectively). \u003c/p>\n\u003cp>Taylor has a lot of fun injecting animal behavior into everyday situations, and gently mocking the awkwardness of interpersonal interactions. But his central concern is the human yearning to avoid loneliness. Crammed with locations all around the bay, \u003cem>Unleashed\u003c/em> is an endearing and oddly touching date movie for those who love people as much as they do animals. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13806058/now-playing-pet-sounds-and-local-scenery-in-finn-taylors-unleashed","authors":["22"],"categories":["arts_74"],"tags":["arts_1118","arts_1006","arts_596","arts_1009"],"featImg":"arts_13806091","label":"arts"},"arts_12870971":{"type":"posts","id":"arts_12870971","meta":{"index":"posts_1591205157","site":"arts","id":"12870971","score":null,"sort":[1489016706000]},"guestAuthors":[],"slug":"a-joint-address-to-change-hearts-and-minds-through-poetry","title":"A Joint Address to Change Hearts and Minds Through Poetry","publishDate":1489016706,"format":"audio","headTitle":"A Joint Address to Change Hearts and Minds Through Poetry | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Poetry can be an act of creative resistance. At least that’s the idea for the \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetic Address to the Nation\u003c/em>\u003c/a>, on Saturday, March 11, at the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts \u003c/a>(YBCA). The event is the brainchild of a quirky network of artists and activists calling itself \u003ca href=\"http://usdac.us/\" target=\"_blank\" rel=\"noopener\">The U.S. Department of Arts and Culture \u003c/a>(USDAC) — decidedly not a government agency.\u003c/p>\n\u003cp>“The president gives a speech once a year,” says \u003ca href=\"http://usdac.us/team/\" target=\"_blank\" rel=\"noopener\">Adam Horowitz\u003c/a>, who calls himself the Chief Instigator at the USDAC, “what a great time for all of us to come together, and make sense of the country, because Democracy is a conversation not a monologue.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the past three years, the group has gathered \u003ca href=\"http://psotu17.tumblr.com/\" target=\"_blank\" rel=\"noopener\">story circles in libraries, churches and schools across the country\u003c/a> to coincide with the President’s State of The Union Address. (President Donald Trump’s joint address to Congress stands in this year.)\u003c/p>\n\u003cp>Horowitz says that the story circles were especially charged events this year, with many worrying that American democratic values were under attack by the Trump Administration. “We saw a need,” he says, “for people to come together with allies and to know their voices can be amplified outside this circle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hvP73nhGDIY\u003c/p>\n\u003cp>The Poetic Address (previously staged in Philadelphia and New York City), is the next step, a chance for writers to distill first-person stories from the circles — about immigration, being a good neighbor, or race — and turn them into poems that speak to the state of the nation. “To take all of those stories, and make sense of them,” Horowitz says, “we need that strange and sharp and precise language that’s possible in poetry to kind of distill the essence of it.\u003c/p>\n\u003cp>Horowitz and the organizers at YBCA have invited just over a dozen poets to the Saturday event, including Luis Rodriguez, the former Los Angeles poet laureate, \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a>, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/michelle-lee\" target=\"_blank\" rel=\"noopener\">Michelle Lee\u003c/a>, Marvin K. White, the youth group \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener\">Young Gifted & Black \u003c/a>and San Francisco’s Tongo Eisen-Martin.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yDtHFhS5oCA\u003c/p>\n\u003cp>“This is really our planet,” Eisen-Martin says. “And we do not have to go along with this kind of farcical organization of power we see right now. The only true power really lies with the people.”\u003c/p>\n\u003cp>Eisen-Martin, a tall bearded poet and an African-American who lives in \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">a city with a fast-shrinking black population\u003c/a>, shares a portion of the poem he plans to read at the Saturday event:\u003c/p>\n\u003cblockquote>\u003cp>A politician raises his hand. And the crowd shows their teeth.\u003cbr>\nAn oligarch raises his hand, little girls are not safe outside,\u003cbr>\nYou are all high depressed, and comrades in function.\u003cbr>\nFifteen minutes to closing, and the city’s survived another black rebellion, stay down.\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=FQe-E1QsbS8\u003c/p>\n\u003cp>Organizers hope to boost the voices of resistance to President Trump’s policies on immigration, the environment and health care. But Horowitz says the story circles met in both blue states and red states.\u003c/p>\n\u003cp>“We got notes from people saying, ‘In my story circle I was able to have my first bipartisan dialogue,'” Horowitz says. “And hopefully it ripples out beyond that.”\u003c/p>\n\u003cp>The Yerba Buena Center for the Arts picked poet and screenwriter Chinaka Hodge to emcee the event. She says she doesn’t expect a lot of Trump supporters at YBCA on Saturday, but she said the livestream on Facebook could build some bridges.\u003c/p>\n\u003cfigure id=\"attachment_12870975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12870975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg\" alt=\"Chinaka Hodge will MC the Poetic Address to the Nation March 11th at the Yerba Buena Center for the Arts\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1920x1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge will emcee the Poetic Address to the Nation on March 11th at the Yerba Buena Center for the Arts. \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping someone who’s not expecting to be moved,” she says, “who’s expecting to heckle, to troll our Facebook livestream, I hope they find some inspiration, and they see themselves reflected, and we’re telling their story as well, and we have a real dialogue.”\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>\u003cem>The Poetic Address to the Nation gets underway on Saturday, March 11, at the Yerba Buena Center for the Arts. More details and info \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Chinaka Hodge emcees the 'Poetic Address to the Nation,' a group event at YBCA with Luis Rodriguez, Michelle Lee, Tongo Eisen-Martin and more.","status":"publish","parent":0,"modified":1705031310,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":717},"headData":{"title":"A Joint Address to Change Hearts and Minds Through Poetry | KQED","description":"Chinaka Hodge emcees the 'Poetic Address to the Nation,' a group event at YBCA with Luis Rodriguez, Michelle Lee, Tongo Eisen-Martin and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/03/PoeticAddressMusikerKQED.mp3","guestFields":"0","sticky":false,"path":"/arts/12870971/a-joint-address-to-change-hearts-and-minds-through-poetry","audioDuration":141000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poetry can be an act of creative resistance. At least that’s the idea for the \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetic Address to the Nation\u003c/em>\u003c/a>, on Saturday, March 11, at the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts \u003c/a>(YBCA). The event is the brainchild of a quirky network of artists and activists calling itself \u003ca href=\"http://usdac.us/\" target=\"_blank\" rel=\"noopener\">The U.S. Department of Arts and Culture \u003c/a>(USDAC) — decidedly not a government agency.\u003c/p>\n\u003cp>“The president gives a speech once a year,” says \u003ca href=\"http://usdac.us/team/\" target=\"_blank\" rel=\"noopener\">Adam Horowitz\u003c/a>, who calls himself the Chief Instigator at the USDAC, “what a great time for all of us to come together, and make sense of the country, because Democracy is a conversation not a monologue.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the past three years, the group has gathered \u003ca href=\"http://psotu17.tumblr.com/\" target=\"_blank\" rel=\"noopener\">story circles in libraries, churches and schools across the country\u003c/a> to coincide with the President’s State of The Union Address. (President Donald Trump’s joint address to Congress stands in this year.)\u003c/p>\n\u003cp>Horowitz says that the story circles were especially charged events this year, with many worrying that American democratic values were under attack by the Trump Administration. “We saw a need,” he says, “for people to come together with allies and to know their voices can be amplified outside this circle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hvP73nhGDIY'\n title='//www.youtube.com/embed/hvP73nhGDIY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Poetic Address (previously staged in Philadelphia and New York City), is the next step, a chance for writers to distill first-person stories from the circles — about immigration, being a good neighbor, or race — and turn them into poems that speak to the state of the nation. “To take all of those stories, and make sense of them,” Horowitz says, “we need that strange and sharp and precise language that’s possible in poetry to kind of distill the essence of it.\u003c/p>\n\u003cp>Horowitz and the organizers at YBCA have invited just over a dozen poets to the Saturday event, including Luis Rodriguez, the former Los Angeles poet laureate, \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a>, \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/michelle-lee\" target=\"_blank\" rel=\"noopener\">Michelle Lee\u003c/a>, Marvin K. White, the youth group \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener\">Young Gifted & Black \u003c/a>and San Francisco’s Tongo Eisen-Martin.\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/yDtHFhS5oCA'\n title='//www.youtube.com/embed/yDtHFhS5oCA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is really our planet,” Eisen-Martin says. “And we do not have to go along with this kind of farcical organization of power we see right now. The only true power really lies with the people.”\u003c/p>\n\u003cp>Eisen-Martin, a tall bearded poet and an African-American who lives in \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">a city with a fast-shrinking black population\u003c/a>, shares a portion of the poem he plans to read at the Saturday event:\u003c/p>\n\u003cblockquote>\u003cp>A politician raises his hand. And the crowd shows their teeth.\u003cbr>\nAn oligarch raises his hand, little girls are not safe outside,\u003cbr>\nYou are all high depressed, and comrades in function.\u003cbr>\nFifteen minutes to closing, and the city’s survived another black rebellion, stay down.\u003c/p>\u003c/blockquote>\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/FQe-E1QsbS8'\n title='//www.youtube.com/embed/FQe-E1QsbS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Organizers hope to boost the voices of resistance to President Trump’s policies on immigration, the environment and health care. But Horowitz says the story circles met in both blue states and red states.\u003c/p>\n\u003cp>“We got notes from people saying, ‘In my story circle I was able to have my first bipartisan dialogue,'” Horowitz says. “And hopefully it ripples out beyond that.”\u003c/p>\n\u003cp>The Yerba Buena Center for the Arts picked poet and screenwriter Chinaka Hodge to emcee the event. She says she doesn’t expect a lot of Trump supporters at YBCA on Saturday, but she said the livestream on Facebook could build some bridges.\u003c/p>\n\u003cfigure id=\"attachment_12870975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12870975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg\" alt=\"Chinaka Hodge will MC the Poetic Address to the Nation March 11th at the Yerba Buena Center for the Arts\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1920x1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Chinaka-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinaka Hodge will emcee the Poetic Address to the Nation on March 11th at the Yerba Buena Center for the Arts. \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping someone who’s not expecting to be moved,” she says, “who’s expecting to heckle, to troll our Facebook livestream, I hope they find some inspiration, and they see themselves reflected, and we’re telling their story as well, and we have a real dialogue.”\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>\u003cem>The Poetic Address to the Nation gets underway on Saturday, March 11, at the Yerba Buena Center for the Arts. More details and info \u003ca href=\"https://www.ybca.org/whats-on/the-2017-poetic-address-to-the-nation\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12870971/a-joint-address-to-change-hearts-and-minds-through-poetry","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1642","arts_1119","arts_1118","arts_596","arts_1009"],"featImg":"arts_12870976","label":"arts_140"}},"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? 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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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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