Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking
After Wildfire, a Family of Artists Faces the Cultural Losses of Climate Change
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The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz
Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit
What's Foster Care Like? Learn From Youth Who Lived Through It.
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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1591205172","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"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_13895379":{"type":"posts","id":"arts_13895379","meta":{"index":"posts_1591205157","site":"arts","id":"13895379","score":null,"sort":[1617921943000]},"guestAuthors":[],"slug":"bassnectar-and-san-franciscos-amorphous-music-sued-for-sexual-abuse-trafficking","title":"Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking","publishDate":1617921943,"format":"standard","headTitle":"Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. [aside postid='arts_13883674']\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” [aside postid='pop_61190']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n","blocks":[],"excerpt":"The Santa Cruz DJ has battled accusations of sexual misconduct and abuse since last summer, and rumors circulated long before.","status":"publish","parent":0,"modified":1705019200,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":597},"headData":{"title":"Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking | KQED","description":"The Santa Cruz DJ has battled accusations of sexual misconduct and abuse since last summer, and rumors circulated long before.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking","datePublished":"2021-04-08T22:45:43.000Z","dateModified":"2024-01-12T00:26:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13895379/bassnectar-and-san-franciscos-amorphous-music-sued-for-sexual-abuse-trafficking","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13883674","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_61190","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13895379/bassnectar-and-san-franciscos-amorphous-music-sued-for-sexual-abuse-trafficking","authors":["11242"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1501","arts_10278","arts_2098","arts_2305","arts_1028"],"featImg":"arts_13895399","label":"arts"},"arts_13885467":{"type":"posts","id":"arts_13885467","meta":{"index":"posts_1591205157","site":"arts","id":"13885467","score":null,"sort":[1599231603000]},"guestAuthors":[],"slug":"after-wildfire-a-family-of-artists-faces-the-cultural-losses-of-climate-change","title":"After Wildfire, a Family of Artists Faces the Cultural Losses of Climate Change","publishDate":1599231603,"format":"standard","headTitle":"After Wildfire, a Family of Artists Faces the Cultural Losses of Climate Change | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]F[/dropcap]elicia Rice’s husband, Jim Schoonover, often joked that the house they rented in the Santa Cruz mountains was really a one-bedroom apartment above her business, \u003ca href=\"https://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Moving Parts Press\u003c/a>.\u003c/p>\n\u003cp>Over the 25 years the family lived there, the book artist, publisher and former UC Santa Cruz administrator filled the downstairs with three vintage letterpresses, 190 cases of metal type and her personal collection of limited-run poetry and art books she’d published since starting her business in 1977. Paintings by her parents, artists who worked closely with the apprentices of Frida Kahlo and Diego Rivera, were lovingly kept there, as well as irreplaceable ancestry records and family photos.\u003c/p>\n\u003cp>The Schoonover Rices’ younger son, Will, the Oakland music producer \u003ca href=\"https://waxroof.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, grew up in that house from the age of seven, watching his mother juggle the many roles involved in turning a niche art form into a thriving business. (His older brother, Gabe, was already in his late teens when the family moved there from Santa Cruz proper.) Felicia’s creative hustle inspired Will’s path toward guitar, trumpet, piano and music production for stand-out Bay Area hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Caleborate.\u003c/p>\n\u003cp>The Schoonover Rices’ woodsy home in the small, secluded community of Bonny Doon was sacred to three generations of creatives—but more than that, it held the memories that shaped them as people, as artists and as a family. And now it’s gone, along with the 1,000 structures burned in the CZU Lightning Complex Fire.\u003c/p>\n\u003cp>“The one thing that brings tears to my eyes is my community,” says Felicia. “My neighborhood is completely devastated. Everything is ash on the ground.”\u003c/p>\n\u003cfigure id=\"attachment_13885811\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AfterFire-081920.jpg\" alt=\"\" width=\"650\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920-160x82.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Bonny Doon after the fire. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]onny Doon only had about 2,600 residents, and Will describes it as a self-reliant community where working-class people, university-affiliated intellectuals and hippie artists lived side by side. “When you have a place that’s founded on the concept of ‘you can be what you want to be here,’ you end up having a lot of different types of folks,” he says.\u003c/p>\n\u003cp>That open-mindedness is what drew Felicia to Santa Cruz in the ’70s, when she found a “mutually beneficial economy” of underground artists and poets who supported one another’s work and helped her printing business thrive. “W\u003cspan class=\"s1\">e were creating community and creating culture,” she says.\u003c/span>\u003c/p>\n\u003cp>Over the years, that tradition continued. Growing up in the ’90s and early 2000s, Will encountered many generous neighbors who took the time to teach him music or join in spontaneous jam sessions, for whom music was a way of life and not just a hobby.\u003c/p>\n\u003cp>“I don’t want to talk about it in the past tense like it’s gone,” he adds with a sadness in his voice.\u003c/p>\n\u003cp>He recalls a childhood of roaming the land, feeling a sense of freedom while running through the trees. The stories that stick out in his memory show the ways the community raised him to value creativity and generosity: When he was 13, playing guitar in the woods at night, a neighbor in a nearby house joined in on trumpet—without ever showing their face.\u003c/p>\n\u003cp>“To have someone just be there, ready, to have a musical conversation with me when I didn’t know what I was saying—and them never needing to be seen or acknowledged—that speaks a lot to the integrity of the place to me,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he was in high school, a UC Santa Cruz student taught him flamenco guitar for a few bucks an hour; a Turkish family introduced him to the collaborative improvisation of Romani music; and a Brazilian guitarist played in a hospital room while Will said his final goodbyes to a friend with cystic fibrosis.\u003c/p>\n\u003cp>In Bonny Doon, it was “normal to be in this musical exchange, with no purpose other than it makes life better,” Will says, reflecting that these experiences made him a better artist. Bonny Doon fed Felicia’s art, too; when she relocated her print shop there, the ink she mixed became more vivid, inspired by the local grass, leaves and branches interacting with the changing sky. The resulting illustrations made her poetry books come alive.\u003c/p>\n\u003cp>“You fall in love with that land, that land holds you,” says Will. “Being on a mountain with redwoods … and it goes all the way down to the ocean where there’s water as far as you can see, and there’s rivers running down into to that. … There’s this huge vastness of space that, when you lean into it, it embraces you.”\u003c/p>\n\u003cp>“And I think that’s why people tend to be more free-thinking or tend to embrace individuality,” he says. “You look out and you don’t see the hard lines of these systems of man that are either in a state of repair or in disrepair.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen the blaze spread into the Santa Cruz mountains in mid-August, Felicia was at her late parents’ home in Mendocino, taking a self-prescribed artist retreat and thinking about her next book, \u003cem>Justice & Injustices\u003c/em>—which, appropriately enough, deals with the intersecting issues of climate change, capitalism and oppression. (“From Trump through COVID through George Floyd and others, systemic racism, to what’s gonna happen next—wildfire is part of it, fire is part of it,” she says.) Jim had stayed behind, not wanting to take his chances traveling during the pandemic because of a health condition.\u003c/p>\n\u003cp>The summer was uncharacteristically hot for Bonny Doon; stretches of days had over-100-degree weather. When sparks ignited after an unlikely August lightning storm, wildfire season started early. Firefighting crews in California were stretched thin because the pandemic made the state’s strategy of deploying \u003ca href=\"https://www.kqed.org/science/1968728/shortage-of-inmate-firefighters-hampers-response-in-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">incarcerated firefighters\u003c/a> untenable. [aside postid='arts_13885195']\u003c/p>\n\u003cp>Neighbors in Bonny Doon assembled \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">volunteer fire crews\u003c/a>. One retired firefighter who lived nearby called Jim on Aug. 19 and told him that flames were approaching. He drove off at midnight, packing little more than important documents and clothes for him and Felicia.\u003c/p>\n\u003cp>The next night, the couple found out from neighbors that their house had burned to the ground along with nearly two dozen neighboring properties.\u003c/p>\n\u003cfigure id=\"attachment_13885812\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg\" alt=\"\" width=\"650\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small-160x120.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice at work in Moving Parts Press. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gone were floor-to-ceiling paintings by Ray Rice, Felicia’s father. Gone was an edition of a book by Miriam Rice, Felicia’s mother, who was best known for extracting a full color spectrum of natural dyes from mushrooms. (“That can be reprinted, so all is not lost,” Felicia sighs.)\u003c/p>\n\u003cp>A vast archive of Felicia’s artworks and collaborations burned too, including a book called \u003ca href=\"https://movingpartspress.com/publications/califas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Califas: The Ancestral Journey/El Viaje Ancestral\u003c/em>\u003c/a>, a collaboration with five artists that folded out into an 18-foot, movable mural. Hand-bound copies—750 of them—were set to go out to K-12 and university classrooms, youth organizations, museums and libraries. A \u003ca href=\"https://movingpartspress.com/publications/latinx-chicanx-poetx-broadside-series\" target=\"_blank\" rel=\"noopener noreferrer\">broadside series\u003c/a> of queer Latinx poetry is mostly gone. And she lost 3/4 of a print run of a collaboration with environmental activist and art historian T.J. Demos, \u003ca href=\"https://movingpartspress.com/publications/necropolitics-of-extraction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Necropolitics of Extraction\u003c/em>\u003c/a>—about capitalism’s exploitation of human labor and natural resources.\u003c/p>\n\u003cp>“I was just starting to sell them, and that’s heartbreaking because one book funds the next,” she says. There is a small silver lining, though: thanks to her supporters, Moving Parts Press recently raised enough on \u003ca href=\"https://www.gofundme.com/f/raise-moving-parts-press-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> to buy back crucial equipment. With the ongoing campaign, Felicia now hopes to raise enough—$75,000—to create a new printing studio in Mendocino.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, the CZU Lightning Complex Fire is just over 40% contained, and it may be weeks until it’s safe to drive 2,500 feet up the mountain on a narrow, two-lane road to assess the damage or find anything that may have survived the flames.\u003c/p>\n\u003cp>Because the Schoonover Rices were renters, they don’t have to deal with the fallout of calling insurance companies or deciding whether or not to rebuild. But they’re still grappling with the emotional loss of saying goodbye to a community that nurtured them for decades. Despite their success in the arts, Bonny Doon home prices were never attainable for the family. Before the fire, houses in the Santa Cruz mountains neared the $1 million mark. Those now displaced may not be able to come back.\u003c/p>\n\u003cp>“There’s a lot of people living out here that when they lose that [their home], it’s done for them,” Bonny Doon resident and volunteer firefighter Glen Hanson \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in August.\u003c/p>\n\u003cp>For Will, that loss has been difficult to put into words. “Something I’ve been mourning that’s hard to articulate is the concept of when you lose someone, you’re able to be who they were to you to other people and, in that way, keep their legacy alive,” he says. “When you lose a place, I’m left with the question of how you’re supposed to do that.”\u003c/p>\n\u003cp>For Felicia’s part, she’s getting back to the basics, figuring out her new routine in Mendocino and taking the rebuilding of Moving Parts Press step by step. But she knows the losses of her house and Moving Parts Press are emblematic of a larger reality: climate change is devastating people and communities. Along with destroying homes and livelihoods, wildfires take history and culture with them. She worries about how bad it will get before meaningful steps are taken. She wants to see our elected officials take serious action on climate change.\u003c/p>\n\u003cp>“Let’s not get cozy. Let’s not get comfortable. This isn’t a comfortable time. Guillermo Gomez-Peña says our job as an artist is to keep the wound open, to remind people of these realities,” she says.\u003c/p>\n\u003cp>“I would like political leaders not to get in office on the basis of the platitudes and reassurances they give, but on the basis of their policies and plans to address the real dangers and threats that are a part of our world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Along with destroying homes and livelihoods, wildfires take history and culture with them.","status":"publish","parent":0,"modified":1705020180,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1793},"headData":{"title":"After Wildfire, a Family of Artists Faces the Cultural Losses of Climate Change | KQED","description":"Along with destroying homes and livelihoods, wildfires take history and culture with them.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"After Wildfire, a Family of Artists Faces the Cultural Losses of Climate Change","datePublished":"2020-09-04T15:00:03.000Z","dateModified":"2024-01-12T00:43:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13885467/after-wildfire-a-family-of-artists-faces-the-cultural-losses-of-climate-change","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>elicia Rice’s husband, Jim Schoonover, often joked that the house they rented in the Santa Cruz mountains was really a one-bedroom apartment above her business, \u003ca href=\"https://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Moving Parts Press\u003c/a>.\u003c/p>\n\u003cp>Over the 25 years the family lived there, the book artist, publisher and former UC Santa Cruz administrator filled the downstairs with three vintage letterpresses, 190 cases of metal type and her personal collection of limited-run poetry and art books she’d published since starting her business in 1977. Paintings by her parents, artists who worked closely with the apprentices of Frida Kahlo and Diego Rivera, were lovingly kept there, as well as irreplaceable ancestry records and family photos.\u003c/p>\n\u003cp>The Schoonover Rices’ younger son, Will, the Oakland music producer \u003ca href=\"https://waxroof.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, grew up in that house from the age of seven, watching his mother juggle the many roles involved in turning a niche art form into a thriving business. (His older brother, Gabe, was already in his late teens when the family moved there from Santa Cruz proper.) Felicia’s creative hustle inspired Will’s path toward guitar, trumpet, piano and music production for stand-out Bay Area hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Caleborate.\u003c/p>\n\u003cp>The Schoonover Rices’ woodsy home in the small, secluded community of Bonny Doon was sacred to three generations of creatives—but more than that, it held the memories that shaped them as people, as artists and as a family. And now it’s gone, along with the 1,000 structures burned in the CZU Lightning Complex Fire.\u003c/p>\n\u003cp>“The one thing that brings tears to my eyes is my community,” says Felicia. “My neighborhood is completely devastated. Everything is ash on the ground.”\u003c/p>\n\u003cfigure id=\"attachment_13885811\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AfterFire-081920.jpg\" alt=\"\" width=\"650\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920-160x82.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Bonny Doon after the fire. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>onny Doon only had about 2,600 residents, and Will describes it as a self-reliant community where working-class people, university-affiliated intellectuals and hippie artists lived side by side. “When you have a place that’s founded on the concept of ‘you can be what you want to be here,’ you end up having a lot of different types of folks,” he says.\u003c/p>\n\u003cp>That open-mindedness is what drew Felicia to Santa Cruz in the ’70s, when she found a “mutually beneficial economy” of underground artists and poets who supported one another’s work and helped her printing business thrive. “W\u003cspan class=\"s1\">e were creating community and creating culture,” she says.\u003c/span>\u003c/p>\n\u003cp>Over the years, that tradition continued. Growing up in the ’90s and early 2000s, Will encountered many generous neighbors who took the time to teach him music or join in spontaneous jam sessions, for whom music was a way of life and not just a hobby.\u003c/p>\n\u003cp>“I don’t want to talk about it in the past tense like it’s gone,” he adds with a sadness in his voice.\u003c/p>\n\u003cp>He recalls a childhood of roaming the land, feeling a sense of freedom while running through the trees. The stories that stick out in his memory show the ways the community raised him to value creativity and generosity: When he was 13, playing guitar in the woods at night, a neighbor in a nearby house joined in on trumpet—without ever showing their face.\u003c/p>\n\u003cp>“To have someone just be there, ready, to have a musical conversation with me when I didn’t know what I was saying—and them never needing to be seen or acknowledged—that speaks a lot to the integrity of the place to me,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he was in high school, a UC Santa Cruz student taught him flamenco guitar for a few bucks an hour; a Turkish family introduced him to the collaborative improvisation of Romani music; and a Brazilian guitarist played in a hospital room while Will said his final goodbyes to a friend with cystic fibrosis.\u003c/p>\n\u003cp>In Bonny Doon, it was “normal to be in this musical exchange, with no purpose other than it makes life better,” Will says, reflecting that these experiences made him a better artist. Bonny Doon fed Felicia’s art, too; when she relocated her print shop there, the ink she mixed became more vivid, inspired by the local grass, leaves and branches interacting with the changing sky. The resulting illustrations made her poetry books come alive.\u003c/p>\n\u003cp>“You fall in love with that land, that land holds you,” says Will. “Being on a mountain with redwoods … and it goes all the way down to the ocean where there’s water as far as you can see, and there’s rivers running down into to that. … There’s this huge vastness of space that, when you lean into it, it embraces you.”\u003c/p>\n\u003cp>“And I think that’s why people tend to be more free-thinking or tend to embrace individuality,” he says. “You look out and you don’t see the hard lines of these systems of man that are either in a state of repair or in disrepair.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen the blaze spread into the Santa Cruz mountains in mid-August, Felicia was at her late parents’ home in Mendocino, taking a self-prescribed artist retreat and thinking about her next book, \u003cem>Justice & Injustices\u003c/em>—which, appropriately enough, deals with the intersecting issues of climate change, capitalism and oppression. (“From Trump through COVID through George Floyd and others, systemic racism, to what’s gonna happen next—wildfire is part of it, fire is part of it,” she says.) Jim had stayed behind, not wanting to take his chances traveling during the pandemic because of a health condition.\u003c/p>\n\u003cp>The summer was uncharacteristically hot for Bonny Doon; stretches of days had over-100-degree weather. When sparks ignited after an unlikely August lightning storm, wildfire season started early. Firefighting crews in California were stretched thin because the pandemic made the state’s strategy of deploying \u003ca href=\"https://www.kqed.org/science/1968728/shortage-of-inmate-firefighters-hampers-response-in-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">incarcerated firefighters\u003c/a> untenable. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13885195","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neighbors in Bonny Doon assembled \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">volunteer fire crews\u003c/a>. One retired firefighter who lived nearby called Jim on Aug. 19 and told him that flames were approaching. He drove off at midnight, packing little more than important documents and clothes for him and Felicia.\u003c/p>\n\u003cp>The next night, the couple found out from neighbors that their house had burned to the ground along with nearly two dozen neighboring properties.\u003c/p>\n\u003cfigure id=\"attachment_13885812\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg\" alt=\"\" width=\"650\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small-160x120.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice at work in Moving Parts Press. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gone were floor-to-ceiling paintings by Ray Rice, Felicia’s father. Gone was an edition of a book by Miriam Rice, Felicia’s mother, who was best known for extracting a full color spectrum of natural dyes from mushrooms. (“That can be reprinted, so all is not lost,” Felicia sighs.)\u003c/p>\n\u003cp>A vast archive of Felicia’s artworks and collaborations burned too, including a book called \u003ca href=\"https://movingpartspress.com/publications/califas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Califas: The Ancestral Journey/El Viaje Ancestral\u003c/em>\u003c/a>, a collaboration with five artists that folded out into an 18-foot, movable mural. Hand-bound copies—750 of them—were set to go out to K-12 and university classrooms, youth organizations, museums and libraries. A \u003ca href=\"https://movingpartspress.com/publications/latinx-chicanx-poetx-broadside-series\" target=\"_blank\" rel=\"noopener noreferrer\">broadside series\u003c/a> of queer Latinx poetry is mostly gone. And she lost 3/4 of a print run of a collaboration with environmental activist and art historian T.J. Demos, \u003ca href=\"https://movingpartspress.com/publications/necropolitics-of-extraction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Necropolitics of Extraction\u003c/em>\u003c/a>—about capitalism’s exploitation of human labor and natural resources.\u003c/p>\n\u003cp>“I was just starting to sell them, and that’s heartbreaking because one book funds the next,” she says. There is a small silver lining, though: thanks to her supporters, Moving Parts Press recently raised enough on \u003ca href=\"https://www.gofundme.com/f/raise-moving-parts-press-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> to buy back crucial equipment. With the ongoing campaign, Felicia now hopes to raise enough—$75,000—to create a new printing studio in Mendocino.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, the CZU Lightning Complex Fire is just over 40% contained, and it may be weeks until it’s safe to drive 2,500 feet up the mountain on a narrow, two-lane road to assess the damage or find anything that may have survived the flames.\u003c/p>\n\u003cp>Because the Schoonover Rices were renters, they don’t have to deal with the fallout of calling insurance companies or deciding whether or not to rebuild. But they’re still grappling with the emotional loss of saying goodbye to a community that nurtured them for decades. Despite their success in the arts, Bonny Doon home prices were never attainable for the family. Before the fire, houses in the Santa Cruz mountains neared the $1 million mark. Those now displaced may not be able to come back.\u003c/p>\n\u003cp>“There’s a lot of people living out here that when they lose that [their home], it’s done for them,” Bonny Doon resident and volunteer firefighter Glen Hanson \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in August.\u003c/p>\n\u003cp>For Will, that loss has been difficult to put into words. “Something I’ve been mourning that’s hard to articulate is the concept of when you lose someone, you’re able to be who they were to you to other people and, in that way, keep their legacy alive,” he says. “When you lose a place, I’m left with the question of how you’re supposed to do that.”\u003c/p>\n\u003cp>For Felicia’s part, she’s getting back to the basics, figuring out her new routine in Mendocino and taking the rebuilding of Moving Parts Press step by step. But she knows the losses of her house and Moving Parts Press are emblematic of a larger reality: climate change is devastating people and communities. Along with destroying homes and livelihoods, wildfires take history and culture with them. She worries about how bad it will get before meaningful steps are taken. She wants to see our elected officials take serious action on climate change.\u003c/p>\n\u003cp>“Let’s not get cozy. Let’s not get comfortable. This isn’t a comfortable time. Guillermo Gomez-Peña says our job as an artist is to keep the wound open, to remind people of these realities,” she says.\u003c/p>\n\u003cp>“I would like political leaders not to get in office on the basis of the platitudes and reassurances they give, but on the basis of their policies and plans to address the real dangers and threats that are a part of our world.”\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885467/after-wildfire-a-family-of-artists-faces-the-cultural-losses-of-climate-change","authors":["11387"],"categories":["arts_1","arts_73","arts_835","arts_70"],"tags":["arts_10278","arts_1028","arts_901","arts_6024"],"featImg":"arts_13885810","label":"arts"},"arts_13876658":{"type":"posts","id":"arts_13876658","meta":{"index":"posts_1591205157","site":"arts","id":"13876658","score":null,"sort":[1584206204000]},"guestAuthors":[],"slug":"beautiful-but-oh-so-cold-devs-delivers-arty-take-on-silicon-valley-dystopia","title":"Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia","publishDate":1584206204,"format":"standard","headTitle":"Beautiful But Oh So Cold: ‘Devs’ Delivers Arty Take on Silicon Valley Dystopia | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Fp9LMsI6uJ8]It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n","blocks":[],"excerpt":"Moody, self-doubting, trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too, in the FX TV series Devs.","status":"publish","parent":0,"modified":1705021092,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1047},"headData":{"title":"Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia | KQED","description":"Moody, self-doubting, trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too, in the FX TV series Devs.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia","datePublished":"2020-03-14T17:16:44.000Z","dateModified":"2024-01-12T00:58:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13876658/beautiful-but-oh-so-cold-devs-delivers-arty-take-on-silicon-valley-dystopia","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\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>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fp9LMsI6uJ8'\n title='//www.youtube.com/embed/Fp9LMsI6uJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876658/beautiful-but-oh-so-cold-devs-delivers-arty-take-on-silicon-valley-dystopia","authors":["251"],"categories":["arts_835","arts_71","arts_235","arts_990","arts_70"],"tags":["arts_4178","arts_4642","arts_1146","arts_1028","arts_3797","arts_1884","arts_3001","arts_585"],"featImg":"arts_13876670","label":"arts"},"arts_13872341":{"type":"posts","id":"arts_13872341","meta":{"index":"posts_1591205157","site":"arts","id":"13872341","score":null,"sort":[1578147330000]},"guestAuthors":[],"slug":"seriously-call-your-mother-today","title":"Seriously, Call Your Mother Today","publishDate":1578147330,"format":"audio","headTitle":"Seriously, Call Your Mother Today | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>With the holidays behind us, what’s your plan to stay in touch with the seniors in your family? Do you have a plan?\u003c/p>\n\u003cp>Before you answer, make a plan to visit \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We’re Still Here \u003c/em>\u003c/a>at the Santa Cruz Museum of Art and History through January 12. It’s not an easy set of stories to confront, but there’s no more important set of stories to hear, in terms of confronting the quality of our collective humanity, or lack thereof.\u003c/p>\n\u003cp>\u003cem>We’re Still Here: Stories of Seniors and Social Isolation\u003c/em> is the result of months of collaboration with seniors in Santa Cruz County. The artists who contributed did so after pitching and refining projects with a \u003ca href=\"https://santacruzmah.org/creative-community-committee\" target=\"_blank\" rel=\"noopener noreferrer\">committee\u003c/a> of 186 seniors and advocates. A similar approach worked to moving effect at the Santa Cruz Museum of Art and History in 2017 with the exhibition \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>We’re Still Here\u003c/em> sets front and center photographs seniors took themselves, as well as stories they told about themselves. The artists essentially served as conduits to deliver a compelling, urgent argument to respond with compassion to the growing number of senior citizens in our midst.\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://www.beyondtheportrait.com\" target=\"_blank\" rel=\"noopener noreferrer\">Gina Orlando\u003c/a> loaned cameras to seven local seniors, ages 60 to 86, to share their daily experiences with social isolation. “Viewers really get an inside look at the personal life of a senior,” Orlando said.\u003c/p>\n\u003cfigure id=\"attachment_13872355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg\" alt=\""Having to Choose/Tener que Elegir" tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We're Still Here at the Santa Cruz Museum of Art and History.\" width=\"1920\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1200x974.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Having to Choose/Tener que Elegir” tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We’re Still Here at the Santa Cruz Museum of Art and History. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>The result in each case was a black and white profile Orlando produced, set alongside a collage of six smaller, color photos produced by the profile subject. Underneath each photo, a short caption describes various causes of isolation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is often more than one cause. Maybe expensive medical problems are leading to tight times financially, and it’s just too expensive to go out for anything like meals or entertainment with friends. Maybe most or all of their close friends and family have died. Maybe family members are still alive, but too distant geographically (or emotionally) to provide much support.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Think about that as you reflect on the fact that, a\u003cspan data-offset-key=\"8s1nk-0-0\">ccording to \u003ca href=\"https://www.mercurynews.com/2019/05/27/californias-growing-senior-population-by-the-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">state projections\u003c/a>, \u003c/span>more than 20 percent of the state’s residents will be seniors within this coming decade. That’s right: by 2030, more than nine million Californians will be over the age of 65.\u003c/p>\n\u003cp>Orlando said she interviewed many more than the individuals she ended up profiling for the exhibition. In particular, she was struck by how many people she talked to who felt abandoned by their children, but afraid to alienate them further by going public with their grief. “It was just heartbreaking to hear these stories about, you know, getting fancy gifts [for holidays or birthdays] and feeling like that was going to be ‘enough to keep mom quiet for the year.’ That’s how they took it. I\u003cb>\u003c/b>t’s really tragic.”\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://modes.io\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Modes\u003c/a> had a different experience, in part because local senior support organizations put him in touch with active, well-connected people.\u003c/p>\n\u003cp>“A lot of the people I talked to were not particularly isolated themselves, but had lots to say about how to stay engaged. And those that found ways to be of service in some way were the people who seemed the happiest, and the most vital,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13872356\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/DSC_3590.jpg\" alt=\"A visitor to the exhibit We're Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History\" width=\"1152\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-1020x680.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to the exhibit We’re Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History \u003ccite>(Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This reporter can confirm that the most mutually satisfying conversations with elders often involve a request for help. What was that recipe again? How would you resolve this situation I’m facing at work? Could you help me reach out to this mutual friend in need?\u003c/p>\n\u003cp>In the exhibit, you can pick up a phone on the wall to hear audio recordings of people like Kathy Cowan, an English instructor at Cabrillo College. She told Modes, “I have several students in their 40s and 50s now who have been so kind. They come and visit me or take me to lunch. You know, they still care about me.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Modes said a lot of the people he talked to found solidarity and community with other seniors, as well as family and people they used to work with or for.\u003c/p>\n\u003cp>“Seniors can be a light for what’s coming ahead,” Bonnie Brenwhite told him. “We show all these qualities that you don’t always have in your youth, like resiliency and a form of leadership that’s based on overcoming things.”\u003c/p>\n\u003cp>As you walk out of the exhibition, the last wall offers visitors 45 ideas printed on small business cards, ranging from “Share your home with an older adult,” to “Volunteer at an LGBTQ Senior Luncheon.” You probably don’t need an action card to remind you of more basic strategies, like picking up the phone and calling your mother.\u003c/p>\n\u003cfigure id=\"attachment_13872357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg\" alt=\"Pick a card, any card. \" width=\"1920\" height=\"1565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1200x978.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Modes takes issue with the idea that personal effort alone, whether from friends, family or strangers, will significantly improve the lives of lonely seniors in our society. Not when we’re so obsessed with defining people based on their job titles and financial wherewithal, or lack thereof.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“We should absolutely connect with those people in our lives who are elders. But at the same time, we should work to change a system that prioritizes people based on how productive they are. I think that we can start broadening our concept of what’s useful, \u003cem>who’s\u003c/em> useful. Maybe we need to look harder at a system that monetizes human value,” he argued.\u003c/p>\n\u003cp>It’s an idea worth spreading. After January 12th, \u003cem>We’re Still Here\u003c/em> heads out on tour to Marin, Sonoma, and San Francisco Counties.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>We’re Still Here: Stories of Seniors and Social Isolation\u003c/strong> runs through January 12, 2020 at the Santa Cruz Museum of Art and History. Seniors get in free, of course. For more info, click \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"We’re Still Here at the Santa Cruz Museum of Art & History challenges us to reach out to lonely seniors in our midst.","status":"publish","parent":0,"modified":1705021571,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1106},"headData":{"title":"Seriously, Call Your Mother Today | KQED","description":"We’re Still Here at the Santa Cruz Museum of Art & History challenges us to reach out to lonely seniors in our midst.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Seriously, Call Your Mother Today","datePublished":"2020-01-04T14:15:30.000Z","dateModified":"2024-01-12T01:06:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/MyrowStillHere.mp3","sticky":false,"path":"/arts/13872341/seriously-call-your-mother-today","audioDuration":96000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the holidays behind us, what’s your plan to stay in touch with the seniors in your family? Do you have a plan?\u003c/p>\n\u003cp>Before you answer, make a plan to visit \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We’re Still Here \u003c/em>\u003c/a>at the Santa Cruz Museum of Art and History through January 12. It’s not an easy set of stories to confront, but there’s no more important set of stories to hear, in terms of confronting the quality of our collective humanity, or lack thereof.\u003c/p>\n\u003cp>\u003cem>We’re Still Here: Stories of Seniors and Social Isolation\u003c/em> is the result of months of collaboration with seniors in Santa Cruz County. The artists who contributed did so after pitching and refining projects with a \u003ca href=\"https://santacruzmah.org/creative-community-committee\" target=\"_blank\" rel=\"noopener noreferrer\">committee\u003c/a> of 186 seniors and advocates. A similar approach worked to moving effect at the Santa Cruz Museum of Art and History in 2017 with the exhibition \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>We’re Still Here\u003c/em> sets front and center photographs seniors took themselves, as well as stories they told about themselves. The artists essentially served as conduits to deliver a compelling, urgent argument to respond with compassion to the growing number of senior citizens in our midst.\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://www.beyondtheportrait.com\" target=\"_blank\" rel=\"noopener noreferrer\">Gina Orlando\u003c/a> loaned cameras to seven local seniors, ages 60 to 86, to share their daily experiences with social isolation. “Viewers really get an inside look at the personal life of a senior,” Orlando said.\u003c/p>\n\u003cfigure id=\"attachment_13872355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg\" alt=\""Having to Choose/Tener que Elegir" tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We're Still Here at the Santa Cruz Museum of Art and History.\" width=\"1920\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1200x974.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Having to Choose/Tener que Elegir” tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We’re Still Here at the Santa Cruz Museum of Art and History. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>The result in each case was a black and white profile Orlando produced, set alongside a collage of six smaller, color photos produced by the profile subject. Underneath each photo, a short caption describes various causes of isolation.\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>There is often more than one cause. Maybe expensive medical problems are leading to tight times financially, and it’s just too expensive to go out for anything like meals or entertainment with friends. Maybe most or all of their close friends and family have died. Maybe family members are still alive, but too distant geographically (or emotionally) to provide much support.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Think about that as you reflect on the fact that, a\u003cspan data-offset-key=\"8s1nk-0-0\">ccording to \u003ca href=\"https://www.mercurynews.com/2019/05/27/californias-growing-senior-population-by-the-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">state projections\u003c/a>, \u003c/span>more than 20 percent of the state’s residents will be seniors within this coming decade. That’s right: by 2030, more than nine million Californians will be over the age of 65.\u003c/p>\n\u003cp>Orlando said she interviewed many more than the individuals she ended up profiling for the exhibition. In particular, she was struck by how many people she talked to who felt abandoned by their children, but afraid to alienate them further by going public with their grief. “It was just heartbreaking to hear these stories about, you know, getting fancy gifts [for holidays or birthdays] and feeling like that was going to be ‘enough to keep mom quiet for the year.’ That’s how they took it. I\u003cb>\u003c/b>t’s really tragic.”\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://modes.io\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Modes\u003c/a> had a different experience, in part because local senior support organizations put him in touch with active, well-connected people.\u003c/p>\n\u003cp>“A lot of the people I talked to were not particularly isolated themselves, but had lots to say about how to stay engaged. And those that found ways to be of service in some way were the people who seemed the happiest, and the most vital,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13872356\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/DSC_3590.jpg\" alt=\"A visitor to the exhibit We're Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History\" width=\"1152\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-1020x680.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to the exhibit We’re Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History \u003ccite>(Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This reporter can confirm that the most mutually satisfying conversations with elders often involve a request for help. What was that recipe again? How would you resolve this situation I’m facing at work? Could you help me reach out to this mutual friend in need?\u003c/p>\n\u003cp>In the exhibit, you can pick up a phone on the wall to hear audio recordings of people like Kathy Cowan, an English instructor at Cabrillo College. She told Modes, “I have several students in their 40s and 50s now who have been so kind. They come and visit me or take me to lunch. You know, they still care about me.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Modes said a lot of the people he talked to found solidarity and community with other seniors, as well as family and people they used to work with or for.\u003c/p>\n\u003cp>“Seniors can be a light for what’s coming ahead,” Bonnie Brenwhite told him. “We show all these qualities that you don’t always have in your youth, like resiliency and a form of leadership that’s based on overcoming things.”\u003c/p>\n\u003cp>As you walk out of the exhibition, the last wall offers visitors 45 ideas printed on small business cards, ranging from “Share your home with an older adult,” to “Volunteer at an LGBTQ Senior Luncheon.” You probably don’t need an action card to remind you of more basic strategies, like picking up the phone and calling your mother.\u003c/p>\n\u003cfigure id=\"attachment_13872357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg\" alt=\"Pick a card, any card. \" width=\"1920\" height=\"1565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1200x978.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Modes takes issue with the idea that personal effort alone, whether from friends, family or strangers, will significantly improve the lives of lonely seniors in our society. Not when we’re so obsessed with defining people based on their job titles and financial wherewithal, or lack thereof.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“We should absolutely connect with those people in our lives who are elders. But at the same time, we should work to change a system that prioritizes people based on how productive they are. I think that we can start broadening our concept of what’s useful, \u003cem>who’s\u003c/em> useful. Maybe we need to look harder at a system that monetizes human value,” he argued.\u003c/p>\n\u003cp>It’s an idea worth spreading. After January 12th, \u003cem>We’re Still Here\u003c/em> heads out on tour to Marin, Sonoma, and San Francisco Counties.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>We’re Still Here: Stories of Seniors and Social Isolation\u003c/strong> runs through January 12, 2020 at the Santa Cruz Museum of Art and History. Seniors get in free, of course. For more info, click \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872341/seriously-call-your-mother-today","authors":["251"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1118","arts_3648","arts_596","arts_4642","arts_1028"],"featImg":"arts_13872354","label":"arts"},"arts_13857007":{"type":"posts","id":"arts_13857007","meta":{"index":"posts_1591205157","site":"arts","id":"13857007","score":null,"sort":[1557581417000]},"guestAuthors":[],"slug":"guided-by-ghosts-tells-the-story-of-chinatowns-born-of-racism-then-lost-to-history","title":"'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History","publishDate":1557581417,"format":"audio","headTitle":"‘Guided by Ghosts’ Tells of Chinatowns Born of Racism, Then Lost to History | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>[aside postID='arts_12200341,news_11626850,forum_2010101869250' label='Related Coverage']Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Guided by Ghosts' brings Chinese-American history to life on the walls of the Santa Cruz Museum of Art and History.\r\n","status":"publish","parent":0,"modified":1705026220,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":789},"headData":{"title":"'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History | KQED","description":"'Guided by Ghosts' brings Chinese-American history to life on the walls of the Santa Cruz Museum of Art and History.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History","datePublished":"2019-05-11T13:30:17.000Z","dateModified":"2024-01-12T02:23:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/05/AudioforGuidedByGhosts1.mp3","sticky":false,"audioTrackLength":73,"path":"/arts/13857007/guided-by-ghosts-tells-the-story-of-chinatowns-born-of-racism-then-lost-to-history","audioDuration":73000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12200341,news_11626850,forum_2010101869250","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13857007/guided-by-ghosts-tells-the-story-of-chinatowns-born-of-racism-then-lost-to-history","authors":["251"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_2654","arts_1118","arts_3648","arts_596","arts_4642","arts_1028"],"featImg":"arts_13857074","label":"arts"},"arts_13824126":{"type":"posts","id":"arts_13824126","meta":{"index":"posts_1591205157","site":"arts","id":"13824126","score":null,"sort":[1518271216000]},"guestAuthors":[],"slug":"the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz","title":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz","publishDate":1518271216,"format":"audio","headTitle":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ","status":"publish","parent":0,"modified":1705028547,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":897},"headData":{"title":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz | KQED","description":"The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Dead Will Talk To You Now, Or At Least Listen, In Santa Cruz","datePublished":"2018-02-10T14:00:16.000Z","dateModified":"2024-01-12T03:02:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2018/02/TheDeadWillTalkToYouNowOrAtLeastListenInSantaCruz.mp3","sticky":false,"path":"/arts/13824126/the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz","audioDuration":103000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824126/the-dead-will-talk-to-you-now-or-at-least-listen-in-santa-cruz","authors":["251"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_2836","arts_3648","arts_1028"],"featImg":"arts_13824130","label":"arts"},"arts_13814125":{"type":"posts","id":"arts_13814125","meta":{"index":"posts_1591205157","site":"arts","id":"13814125","score":null,"sort":[1510668054000]},"guestAuthors":[],"slug":"students-help-okinawan-history-come-alive-in-uc-santa-cruz-exhibit","title":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit","publishDate":1510668054,"format":"audio","headTitle":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3\" title=\"Okinawan History\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg\"]\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZUbDw84ouok]\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"UC Santa Cruz uses an American soldier's photos of Okinawa in 1952 to launch a dynamic history project.","status":"publish","parent":0,"modified":1705029122,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1039},"headData":{"title":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit | KQED","description":"UC Santa Cruz uses an American soldier's photos of Okinawa in 1952 to launch a dynamic history project.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit","datePublished":"2017-11-14T14:00:54.000Z","dateModified":"2024-01-12T03:12:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3","sticky":false,"path":"/arts/13814125/students-help-okinawan-history-come-alive-in-uc-santa-cruz-exhibit","audioDuration":204000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3","title":"Okinawan History","program":"The California Report","image":"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\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>\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/ZUbDw84ouok'\n title='//www.youtube.com/embed/ZUbDw84ouok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13814125/students-help-okinawan-history-come-alive-in-uc-santa-cruz-exhibit","authors":["251"],"categories":["arts_1","arts_235"],"tags":["arts_2627","arts_822","arts_4642","arts_1028","arts_2747","arts_3038"],"featImg":"arts_13814127","label":"arts"},"arts_13810966":{"type":"posts","id":"arts_13810966","meta":{"index":"posts_1591205157","site":"arts","id":"13810966","score":null,"sort":[1508936415000]},"guestAuthors":[],"slug":"former-foster-youth-change-narrative","title":"What's Foster Care Like? Learn From Youth Who Lived Through It.","publishDate":1508936415,"format":"audio","headTitle":"What’s Foster Care Like? Learn From Youth Who Lived Through It. | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">A San Francisco Bay Area museum is taking an unusual tack with an exhibition about foster youth in California. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> invited a team of former foster youth and advocates to help put the show together.\u003c/span>\u003c/p>\n\u003cp>Five months before the show \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a> went up, around a hundred former foster youth and advocates began meeting at the Santa Cruz Museum of Art & History to talk about what the exhibition would look like.\u003c/p>\n\u003cp>Community engagement director Stacey Garcia explains, “We are not experts in what foster youth have gone through, what they want to share. We know how to make an exhibition, but we don’t know how to tell their story. They do.”\u003c/p>\n\u003cp>Jess Prudent works as an outreach assistant with \u003ca href=\"https://santacruzgives.org/nonprofit/court-appointed-special-advocates-for-children-of-santa-cruz-county/\" target=\"_blank\" rel=\"noopener noreferrer\">Court Appointed Special Advocates of Santa Cruz County\u003c/a>, which supports children in foster care.\u003c/p>\n\u003cp>Prudent was skeptical at first that the museum wanted anything more than superficial advice from the \u003ca href=\"http://c3.santacruzmah.org/category/blog/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Community Committee (C3)\u003c/a>, but was soon won over by the hands-on curatorial process.\u003c/p>\n\u003cfigure id=\"attachment_13812516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg\" alt=\""Sophia," (2014) by Ray Bussolari. It's no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1180x922.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-960x751.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sophia,” (2014) by Ray Bussolari. It’s no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \u003ccite>(Photo: Courtesy of Ray Bussolari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were making every decision: like, the layout of this place, the art pieces that we included, the artists, even what the collaborating artists were going to focus on,” Prudent says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the core of the exhibition is a collection of photographic portraits by \u003ca href=\"http://ray-bussolari.squarespace.com\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Bussolari\u003c/a>, as well as artifacts from Oakland’s \u003ca href=\"https://fosteryouthmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Foster Youth Museum\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garcia says the Santa Cruz Museum of Art & History added works by former foster youth who are on the museum’s advisory committee, as well as by local artists they got to choose.\u003c/span> “We really chose artists based on how willing they were to collaborate, and how much they wanted the youths’ voices to shine versus their own,” Garcia says.\u003c/p>\n\u003cp>Take “Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a>. It’s is a tapestry of messages from committee members, written on paper strips. This is one written by Prudent: “We’re not troubled kids. We’re kids with troubles.”\u003c/p>\n\u003cfigure id=\"attachment_13810987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810987 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg\" alt=\"“Interwoven Voices,” by Santa Cruz artist Melody Overstreet is a tapestry of messages from Creative Community Committee members, written on paper strips.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cstrong>“Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a> is a tapestry of messages from Creative Community Committee members, written on paper strips.\u003c/strong> \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Lee Evans is the founder of the Foster Youth Museum. “There is no other exhibit like this,” Evans says. “This is the largest and probably only exhibition of artifacts, art and culture demonstrating the experience of foster care from a youth’s perspective.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s something\u003cem> Lost Childhoods\u003c/em> makes plain with personal mementos that highlight statistical truths. A college diploma and a photograph of a foster youth living in a dorm room at University of San Francisco is accompanied by a caption explaining that close to half of those who survive foster care will never graduate from high school, let alone university. A disproportionate number will instead become unemployed or even homeless when they “age out.” \u003c/span>\u003c/p>\n\u003cp>“I’ve been told from plenty of people that I know that coming here, they relate to things that they couldn’t before, whether or not they were in the foster care system,” says\u003cb> \u003c/b>Chad Platt, a transition age youth advocate at \u003ca href=\"http://www.encompasscs.org\" target=\"_blank\" rel=\"noopener noreferrer\">Encompass Community Services\u003c/a> and a former foster youth himself.\u003c/p>\n\u003cfigure id=\"attachment_13810992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810992 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg\" alt=\"The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museum visitor Diane Lamott from Aptos was moved by the show. “Heart wrenching. Emotional,” she said choking back tears. “Makes you wish you could have done something more to help.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the show’s organizers want to do more than elicit sympathy from visitors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right at the entrance of the gallery, there’s a massive display of multi-colored “action cards.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each one suggests one way to help foster youth. Bake a cake. Donate a pair of pajamas. Teach a teen to write a resume. Or, if you’re really inspired, volunteer as a court appointed special advocate.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13811071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg\" alt=\"Pick a card, any card.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lost Childhoods is on view at the Santa Cruz Museum of Art & History through December 31, 2017. More info \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Santa Cruz version of \"Lost Childhoods\" the largest show about foster care from the youths' perspective.","status":"publish","parent":0,"modified":1705029258,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":795},"headData":{"title":"What's Foster Care Like? Learn From Youth Who Lived Through It. | KQED","description":"Santa Cruz version of "Lost Childhoods" the largest show about foster care from the youths' perspective.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What's Foster Care Like? Learn From Youth Who Lived Through It.","datePublished":"2017-10-25T13:00:15.000Z","dateModified":"2024-01-12T03:14:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2017/10/LostChildhoodsMyrow.mp3","sticky":false,"path":"/arts/13810966/former-foster-youth-change-narrative","audioDuration":168000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A San Francisco Bay Area museum is taking an unusual tack with an exhibition about foster youth in California. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> invited a team of former foster youth and advocates to help put the show together.\u003c/span>\u003c/p>\n\u003cp>Five months before the show \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a> went up, around a hundred former foster youth and advocates began meeting at the Santa Cruz Museum of Art & History to talk about what the exhibition would look like.\u003c/p>\n\u003cp>Community engagement director Stacey Garcia explains, “We are not experts in what foster youth have gone through, what they want to share. We know how to make an exhibition, but we don’t know how to tell their story. They do.”\u003c/p>\n\u003cp>Jess Prudent works as an outreach assistant with \u003ca href=\"https://santacruzgives.org/nonprofit/court-appointed-special-advocates-for-children-of-santa-cruz-county/\" target=\"_blank\" rel=\"noopener noreferrer\">Court Appointed Special Advocates of Santa Cruz County\u003c/a>, which supports children in foster care.\u003c/p>\n\u003cp>Prudent was skeptical at first that the museum wanted anything more than superficial advice from the \u003ca href=\"http://c3.santacruzmah.org/category/blog/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Community Committee (C3)\u003c/a>, but was soon won over by the hands-on curatorial process.\u003c/p>\n\u003cfigure id=\"attachment_13812516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg\" alt=\""Sophia," (2014) by Ray Bussolari. It's no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1180x922.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-960x751.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sophia,” (2014) by Ray Bussolari. It’s no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \u003ccite>(Photo: Courtesy of Ray Bussolari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were making every decision: like, the layout of this place, the art pieces that we included, the artists, even what the collaborating artists were going to focus on,” Prudent says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the core of the exhibition is a collection of photographic portraits by \u003ca href=\"http://ray-bussolari.squarespace.com\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Bussolari\u003c/a>, as well as artifacts from Oakland’s \u003ca href=\"https://fosteryouthmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Foster Youth Museum\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garcia says the Santa Cruz Museum of Art & History added works by former foster youth who are on the museum’s advisory committee, as well as by local artists they got to choose.\u003c/span> “We really chose artists based on how willing they were to collaborate, and how much they wanted the youths’ voices to shine versus their own,” Garcia says.\u003c/p>\n\u003cp>Take “Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a>. It’s is a tapestry of messages from committee members, written on paper strips. This is one written by Prudent: “We’re not troubled kids. We’re kids with troubles.”\u003c/p>\n\u003cfigure id=\"attachment_13810987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810987 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg\" alt=\"“Interwoven Voices,” by Santa Cruz artist Melody Overstreet is a tapestry of messages from Creative Community Committee members, written on paper strips.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cstrong>“Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a> is a tapestry of messages from Creative Community Committee members, written on paper strips.\u003c/strong> \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Lee Evans is the founder of the Foster Youth Museum. “There is no other exhibit like this,” Evans says. “This is the largest and probably only exhibition of artifacts, art and culture demonstrating the experience of foster care from a youth’s perspective.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s something\u003cem> Lost Childhoods\u003c/em> makes plain with personal mementos that highlight statistical truths. A college diploma and a photograph of a foster youth living in a dorm room at University of San Francisco is accompanied by a caption explaining that close to half of those who survive foster care will never graduate from high school, let alone university. A disproportionate number will instead become unemployed or even homeless when they “age out.” \u003c/span>\u003c/p>\n\u003cp>“I’ve been told from plenty of people that I know that coming here, they relate to things that they couldn’t before, whether or not they were in the foster care system,” says\u003cb> \u003c/b>Chad Platt, a transition age youth advocate at \u003ca href=\"http://www.encompasscs.org\" target=\"_blank\" rel=\"noopener noreferrer\">Encompass Community Services\u003c/a> and a former foster youth himself.\u003c/p>\n\u003cfigure id=\"attachment_13810992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810992 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg\" alt=\"The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museum visitor Diane Lamott from Aptos was moved by the show. “Heart wrenching. Emotional,” she said choking back tears. “Makes you wish you could have done something more to help.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the show’s organizers want to do more than elicit sympathy from visitors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right at the entrance of the gallery, there’s a massive display of multi-colored “action cards.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each one suggests one way to help foster youth. Bake a cake. Donate a pair of pajamas. Teach a teen to write a resume. Or, if you’re really inspired, volunteer as a court appointed special advocate.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13811071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg\" alt=\"Pick a card, any card.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lost Childhoods is on view at the Santa Cruz Museum of Art & History through December 31, 2017. More info \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810966/former-foster-youth-change-narrative","authors":["251"],"series":["arts_1357"],"categories":["arts_235","arts_70"],"tags":["arts_3648","arts_1028"],"featImg":"arts_13810984","label":"arts_1357"},"arts_12856496":{"type":"posts","id":"arts_12856496","meta":{"index":"posts_1591205157","site":"arts","id":"12856496","score":null,"sort":[1488808832000]},"guestAuthors":[],"slug":"we-who-work-pays-tribute-to-those-laboring-in-santa-cruz-and-beyond","title":"'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond","publishDate":1488808832,"format":"image","headTitle":"‘We Who Work’ Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311005606″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new exhibition by Hung Liu at the Santa Cruz Museum of Art & History pays tribute to the working class. ","status":"publish","parent":0,"modified":1705031340,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1014},"headData":{"title":"'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED","description":"A new exhibition by Hung Liu at the Santa Cruz Museum of Art & History pays tribute to the working class. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond","datePublished":"2017-03-06T14:00:32.000Z","dateModified":"2024-01-12T03:49:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12856496/we-who-work-pays-tribute-to-those-laboring-in-santa-cruz-and-beyond","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311005606″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311005606″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12856496/we-who-work-pays-tribute-to-those-laboring-in-santa-cruz-and-beyond","authors":["251"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1642","arts_5391","arts_1119","arts_1118","arts_3181","arts_596","arts_1143","arts_4642","arts_1028"],"featImg":"arts_12857734","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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