At SOMArts, 'Jade Wave Rising' Is a Love Letter to AAPI Women
All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco
At SOMArts, 'The Indigo Project' Weaves the Threads of Black History
The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up
Lullabies Transmit Intimate and Difficult Knowledge in ‘Sounds Like Home’
Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis
Recoding CripTech Proudly Asserts Disability as an Identity and Culture
At SOMArts, ‘CripTech’ Hacks Tech to Dismantle Ableism
Through Subversion and Joyful Skewering, Artists ‘Reorient’ Stereotypes
Sponsored
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At some point, my mother followed suit, and the jade became a permanent extension of her body as well. A symbol of protection, jade has come to represent legacy, strength and good fortune across many Asian American and Pacific Islander cultures. While these themes remain consistent, their presence shifts and metamorphosizes alongside the transformation of new generations.\u003c/p>\n\u003cp>The dynamic nature of the jade, AAPI heritage and the expansiveness of womanhood are all reflected in \u003cem>Jade Wave Rising: Portraits of Power\u003c/em>, a new exhibit on view at SOMArts Cultural Center through May 21. Curator and artist \u003ca href=\"https://www.instagram.com/yeuqart/\">Yeu Q Nguyen\u003c/a> questions the concept of power in the representation of AAPI women — particularly, how sticky, elusive and vast it can really be. Power is subjective and takes shape in various forms: tender and vulnerable, subversive and brash, self-contained and participatory. The exhibit is angled through the lens of 20 artists, all of whom offer their own individual responses to power. \u003c/p>\n\u003cfigure id=\"attachment_13929109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mariel-paat-paintings--800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13929109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--1536x1006.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Paat’s ‘Grandma Elsie’ and ‘Mama Mirela’ (L–R). \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/mariel.m.aarte/\">Mariel Paat\u003c/a>’s vivid oil paintings, each representing a different woman in her family, are rendered with sharp color and delicate realism. In one, her grandmother is smiling, elated at being able to return to her home in the Philippines after years away. In another, Paat’s older sister Mirela breastfeeds her son. In the last portrait, her mother Melanie embraces herself as she looks towards the viewer.\u003c/p>\n\u003cp>One constant in Paat’s portraits is her subjects’ fixed, unbroken gaze. Their calm poses exude comfort in their surroundings, their strength and self-assuredness silent but commanding. Paat instills every painting with character and personality through precise attention to posture and expression. Beyond technical skill, the portraits are also full of love and sincerity, intimately capturing how the artist views the most important women in her life: resilient, powerful and vulnerable in their own ways. \u003c/p>\n\u003cfigure id=\"attachment_13929110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/melanie-tolantino-painting--800x542.jpg\" alt=\"\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13929110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariel Paat’s ‘Melanie Tolentino Paat-Bambang, Nueva Vizcaya.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, through a series of silk prints, artist \u003ca href=\"https://julieannelee.wixsite.com/portfolio/about\">Julie Lee\u003c/a> weaves together a close and quiet look into one woman’s life before her immigration to the United States. In many of these photographs, she poses and smiles against scenic backdrops, the patterns of the silk reflecting the patterns and colors of her outfits. Looking at these portraits, I can’t help but think of my mother again. At home, there are scrapbooks filled with photos of her as a young adult posing amongst landmark American staples: shiny Las Vegas casinos, picturesque statues and glimmering bodies of water. She still wore her hair long, and dressed in peplum tops that have long been shoved into the back of her closet. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like my mother’s photographs, Lee’s silk portraits illustrate a young woman full of hope for her future. In moving to the states, she walks unsteady ground as she tries to discover herself in this new place. As second generation children of immigrants, it can feel conflicting to see our parents as they were young, with a longing to make something of themselves through the “American Dream.” Lee incorporates this yearning into the very fabric of her work, with silk symbolizing fortune and prosperity. She captures the familiar and deep desire of many immigrants to turn their lives around in the U.S., a place that beckons them with seemingly endless opportunity and a fresh slate. \u003c/p>\n\u003cfigure id=\"attachment_13929112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/in-her-glory-prints--800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Lee’s ‘In Her Glory,’ a collection of silk print portraits. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This piece is full of emotion and curiosity. As viewers, we know nothing about the subject and are offered only pieces of her story. But the familiarity of the photos and the feelings behind them create a resounding work that encourages one to consider their own relationship to previous generations, and the hopes and dreams that they once held so deeply. They transform from parent or elder into eager adolescent, with similar doubts and fantasies of what years to come may hold. Lee hopes to tell her subject that she is inherently powerful and worthy, and that her efforts so far prove it. Even if the American dream fails her, as it does so many, she deserves a life that is abundant. \u003c/p>\n\u003cp>As I neared the end of my visit, I peeked beneath \u003cem>Of Wave and Stones\u003c/em>, Nguyen’s large-scale tulle wave piece that hangs from the ceiling and gently spills onto the floor, pooling around a collection of rocks that carry messages of hope and strength. The only sounds present were the ambient noise and narration trickling from \u003cem>Jade Wave Rising\u003c/em>’s sole video installation, providing an almost meditative air to the space. There is a sentence from artist Mariel Paat’s oil paintings that sticks with me: “We see you, we love you, and thank you.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jade Wave Rising: Portraits of Power’ runs through May 21, 2023, at SOMArts in San Francisco, presented by the Asian American Women Artists Association and the Asian Pacific Islander Cultural Center. \u003ca href=\"https://somarts.org/event/jadewaverising/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In a new exhibition, 20 AAPI women and nonbinary artists reclaim power and autonomy. ","status":"publish","parent":0,"modified":1705005503,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":893},"headData":{"title":"At SOMArts, 'Jade Wave Rising' Is a Love Letter to AAPI Women | KQED","description":"In a new exhibition, 20 AAPI women and nonbinary artists reclaim power and autonomy. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SOMArts, 'Jade Wave Rising' Is a Love Letter to AAPI Women","datePublished":"2023-05-12T19:18:38.000Z","dateModified":"2024-01-11T20:38:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929103/at-somarts-jade-wave-rising-is-a-love-letter-to-aapi-women","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was growing up, my grandmother’s wrist was always adorned with a thick jade bracelet, its smooth, cool-green surface prominent against her skin. At some point, my mother followed suit, and the jade became a permanent extension of her body as well. A symbol of protection, jade has come to represent legacy, strength and good fortune across many Asian American and Pacific Islander cultures. While these themes remain consistent, their presence shifts and metamorphosizes alongside the transformation of new generations.\u003c/p>\n\u003cp>The dynamic nature of the jade, AAPI heritage and the expansiveness of womanhood are all reflected in \u003cem>Jade Wave Rising: Portraits of Power\u003c/em>, a new exhibit on view at SOMArts Cultural Center through May 21. Curator and artist \u003ca href=\"https://www.instagram.com/yeuqart/\">Yeu Q Nguyen\u003c/a> questions the concept of power in the representation of AAPI women — particularly, how sticky, elusive and vast it can really be. Power is subjective and takes shape in various forms: tender and vulnerable, subversive and brash, self-contained and participatory. The exhibit is angled through the lens of 20 artists, all of whom offer their own individual responses to power. \u003c/p>\n\u003cfigure id=\"attachment_13929109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mariel-paat-paintings--800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13929109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings--1536x1006.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mariel-paat-paintings-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Paat’s ‘Grandma Elsie’ and ‘Mama Mirela’ (L–R). \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/mariel.m.aarte/\">Mariel Paat\u003c/a>’s vivid oil paintings, each representing a different woman in her family, are rendered with sharp color and delicate realism. In one, her grandmother is smiling, elated at being able to return to her home in the Philippines after years away. In another, Paat’s older sister Mirela breastfeeds her son. In the last portrait, her mother Melanie embraces herself as she looks towards the viewer.\u003c/p>\n\u003cp>One constant in Paat’s portraits is her subjects’ fixed, unbroken gaze. Their calm poses exude comfort in their surroundings, their strength and self-assuredness silent but commanding. Paat instills every painting with character and personality through precise attention to posture and expression. Beyond technical skill, the portraits are also full of love and sincerity, intimately capturing how the artist views the most important women in her life: resilient, powerful and vulnerable in their own ways. \u003c/p>\n\u003cfigure id=\"attachment_13929110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/melanie-tolantino-painting--800x542.jpg\" alt=\"\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13929110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting--1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/melanie-tolantino-painting-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariel Paat’s ‘Melanie Tolentino Paat-Bambang, Nueva Vizcaya.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, through a series of silk prints, artist \u003ca href=\"https://julieannelee.wixsite.com/portfolio/about\">Julie Lee\u003c/a> weaves together a close and quiet look into one woman’s life before her immigration to the United States. In many of these photographs, she poses and smiles against scenic backdrops, the patterns of the silk reflecting the patterns and colors of her outfits. Looking at these portraits, I can’t help but think of my mother again. At home, there are scrapbooks filled with photos of her as a young adult posing amongst landmark American staples: shiny Las Vegas casinos, picturesque statues and glimmering bodies of water. She still wore her hair long, and dressed in peplum tops that have long been shoved into the back of her closet. \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>Like my mother’s photographs, Lee’s silk portraits illustrate a young woman full of hope for her future. In moving to the states, she walks unsteady ground as she tries to discover herself in this new place. As second generation children of immigrants, it can feel conflicting to see our parents as they were young, with a longing to make something of themselves through the “American Dream.” Lee incorporates this yearning into the very fabric of her work, with silk symbolizing fortune and prosperity. She captures the familiar and deep desire of many immigrants to turn their lives around in the U.S., a place that beckons them with seemingly endless opportunity and a fresh slate. \u003c/p>\n\u003cfigure id=\"attachment_13929112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/in-her-glory-prints--800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints--1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/in-her-glory-prints-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Lee’s ‘In Her Glory,’ a collection of silk print portraits. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This piece is full of emotion and curiosity. As viewers, we know nothing about the subject and are offered only pieces of her story. But the familiarity of the photos and the feelings behind them create a resounding work that encourages one to consider their own relationship to previous generations, and the hopes and dreams that they once held so deeply. They transform from parent or elder into eager adolescent, with similar doubts and fantasies of what years to come may hold. Lee hopes to tell her subject that she is inherently powerful and worthy, and that her efforts so far prove it. Even if the American dream fails her, as it does so many, she deserves a life that is abundant. \u003c/p>\n\u003cp>As I neared the end of my visit, I peeked beneath \u003cem>Of Wave and Stones\u003c/em>, Nguyen’s large-scale tulle wave piece that hangs from the ceiling and gently spills onto the floor, pooling around a collection of rocks that carry messages of hope and strength. The only sounds present were the ambient noise and narration trickling from \u003cem>Jade Wave Rising\u003c/em>’s sole video installation, providing an almost meditative air to the space. There is a sentence from artist Mariel Paat’s oil paintings that sticks with me: “We see you, we love you, and thank you.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jade Wave Rising: Portraits of Power’ runs through May 21, 2023, at SOMArts in San Francisco, presented by the Asian American Women Artists Association and the Asian Pacific Islander Cultural Center. \u003ca href=\"https://somarts.org/event/jadewaverising/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929103/at-somarts-jade-wave-rising-is-a-love-letter-to-aapi-women","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2207","arts_585"],"featImg":"arts_13929113","label":"arts_140"},"arts_13926133":{"type":"posts","id":"arts_13926133","meta":{"index":"posts_1591205157","site":"arts","id":"13926133","score":null,"sort":[1678819480000]},"guestAuthors":[],"slug":"muni-raised-me-somarts-san-francisco","title":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","publishDate":1678819480,"format":"standard","headTitle":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Almost every longtime Bay Area resident has their favorite Muni route. For me, it’s the 38, the bus that starts downtown, then cruises past the Fillmore and Japantown to the Richmond District. When I exit through the back doors and into the heart of San Francisco’s Russian-speaking immigrant neighborhood, the smells of church frankincense and fresh rye bread awaken some of my favorite childhood memories.\u003c/p>\n\u003cp>As an immigrant kid growing up in the East Bay, my family’s frequent trips to San Francisco anchored me in my cultural identity. So I felt an instant connection to the intimate, poetic way 13 San Francisco-born-and-raised artists approach city life and public transit in the new group exhibition \u003ca href=\"https://somarts.org/event/muniraisedme/\">\u003ci>Muni Raised Me\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>In the SOMArts show curated by Meymey Lee, \u003ca href=\"http://www.sashavu.com/\">Sasha Vu\u003c/a> and Celi Tamayo-Lee, bus lines are the arteries that connect immigrant, Black and working-class neighborhoods — the heart and soul of San Francisco culture. The multicultural crew of artists tells collective and personal histories through installations, paintings, audio and video. In the context of record-shattering rent prices and ongoing displacement, their memories feel like precious keepsakes.\u003c/p>\n\u003cp>The centerpiece in SOMArts’ high-ceilinged, warehouse gallery is \u003ci>Altared SF\u003c/i> by Sasha Vu and Ling Ling Lee, a real-life, decommissioned Muni bus turned into a temple with an original soundtrack of beats by Vu’s brother, Ben Vu. The \u003ci>Magic School Bus\u003c/i>-esque, psychedelic ride transports viewers with its maximalist assemblages of objects, each one evoking a different San Francisco cultural touchpoint.\u003c/p>\n\u003cp>As I took in the hippie-raver curios, Buddhist statues and rainbow decorations, I arrived at a quiet moment of contemplation. In the back, an altar honors victims of police brutality, including Mario Woods and Alex Nieto, whose deaths galvanized San Francisco’s movement for police accountability over the past decade. Like much of \u003ci>Muni Raised Me\u003c/i>, the piece feels joyful yet grounded in a sobering reality.\u003c/p>\n\u003cfigure id=\"attachment_13926157\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-3.jpg\" alt=\"A circular passageway decorated with plants and rainbows ending in an altar\" width=\"1920\" height=\"1269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1536x1015.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A view inside ‘Altared SF’ by Sasha Vu and Ling Ling Lee. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art in \u003ci>Muni Raised Me\u003c/i> mimics the texture and aliveness of the City. Music videos by local artists such as Qing Qi, La Doña, A-1 and Baghead bring a house party soundtrack. Ben Vu’s short film \u003ci>All That and Dim Sum\u003c/i> radiates warmth, reminding us that San Francisco is also a city of families who eat dumplings together on Sundays — not just individualistic strivers. Sophia Mitty’s custom embroidery on jackets tells stories through workwear-inspired fashion. And tanea lunsford lynx’s installation, a listening booth collaged with family photos, plays poems about connection, loss and longing from her point of view as a fourth-generation Black San Franciscan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Muni Raised Me\u003c/i> feels intentional and full of care, which falls in line with the three curators’ mission to be of service. Outside of their art practices, Vu and Lee are both educators, and Tamayo-Lee is the co-director of \u003ca href=\"https://www.sfrising.org/\">San Francisco Rising\u003c/a>, an organization that aims to politically empower working class people of color. I spoke with them about their vision for the show, their favorite Muni routes and how they managed to fit a real bus into a gallery.\u003c/p>\n\u003cp>[aside postid='arts_13925483']\u003ci>This conversation has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nastia Voynovskaya: I was struck by how so many of the artists involved are also organizers and educators who pour themselves into their community. What does that say to you about the art scene in San Francisco?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu\u003c/b>: That’s a fascinating question because I feel like it really speaks to specifically this art show, not so much the larger art scene in San Francisco. So many of the folks I know who stayed in the City, who have grown up here, have had to balance their identity as artists with other professions, especially if you’re a local up-and-coming artist. Then I think also looking at the world through the artistic lens, it really lends itself to seeing various cracks and injustices, which therefore puts you in a place where you’re like, “How can I have my art better serve the community? How can my being better serve the community?”\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> Public institutions are the things that raised us, so public transit, public schools and public parks. I think we really benefited from a really robust civil infrastructure. That really does speak to a San Francisco spirit, a very service-oriented sense of giving back to the city that raised us.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> [\u003ci>Muni Raised Me\u003c/i> is] a huge shoutout to the bus drivers, the teachers, the after-school caregivers, the volunteers who worked during recess or helped us cross the street. In so many ways, we spent more time with those adults than some of our own parents. And I think for me, there’s a feeling of just wanting to re-seed that in today’s youth and share that love that we’ve been given, and getting to be that cool, weird, funky adult. It’s a piece of pride for a lot of us.\u003c/p>\n\u003cfigure id=\"attachment_13926158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-5.jpg\" alt=\"Handmade black and white jacket with symbols of city life embroidered\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the garments in Sophia Mitty’s installation ‘Ode to SF,’ on view in ‘Muni Raised Me’ at SOMArts. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So many of the pieces in the show feel nostalgic and centered on childhood memories. What’s the importance of that to you as curators and artists?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> So much of this show is pulling from a deep-seated nostalgia that really comes from having roots here. It’s an accumulation of 20 to 40 years of being in the same place. Being able to pull from childhood is such a unique lens because there are so many people here who didn’t grow up here, who are transplants in various ways and will never see the city through the same lens that we see it. And this is kind of offering a peek into that world.\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I felt nostalgia when I was like 17. Nostalgia is such a forced emotion when you grow up in San Francisco because the change has just been so rapid and incredible. And maybe that’s just the nature of cities. But also there was definitely a malicious edge to it, you know, watching the tech industry come in, watching so many working-class families leave — so many of our friends and family. There’s a lot of sadness. We wanted to honor the pride and the sadness and the joy we have here.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> And to romanticize the ’90s in San Francisco. It was coming off the coattails of the AIDS epidemic and the war on drugs. There was such a vivacious and growing queer community. I felt like my childhood was very infused with a lot of music and art and street festivals and free concerts in the park. I feel like it takes a lot more effort to find that and build that nowadays.\u003c/p>\n\u003cfigure id=\"attachment_13926159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-6.jpg\" alt=\"Colorful collage of bus tickets with text about Halloween in the Castro\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up of the family photos in tanea lunsford lynx’s oral history audio installation, ‘I Used to Live Here.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It seems like collaboration played a pretty big role on the show, in some of the pieces themselves and also in your process as the three curators. Could you tell me a little bit about that and how it relates to the spirit of this exhibit?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> So much of this show has been really about looking around and realizing that I’m in community with so many amazing people, artists and educators and curators that don’t really have a place to shine. So many of the artists we’ve known since high school. I’ve known Sasha since I was five and Celi since middle school. Having these relationships that go really far back has definitely been the backbone and the saving grace. It’s been so amazing to see these wonderful people in a whole new light.\u003c/p>\n\u003cp>[aside postid='arts_13925416']\u003cb>Celi Tamayo-Lee:\u003c/b> I think it was also a beautiful process of learning about each other outside of just being friends. Mey was like, “You know what? Like, screw it. I’m just going to try and apply to [SOMArts’ Curatorial Residency Program]. Here is my vision.” And we were like, “OK, we will follow you.” A third of the gallery is pieces by Sasha. Sasha has just had that artistic ambition to bring a lot of her skills and vision to a single place. I was the admin dom in terms of, “Are we meeting deadlines? Are we crossing our t’s dotting our i’s?” Learning how to work together has also just been like a big part of community building.\u003c/p>\n\u003cp>\u003cb>Sasha, could you tell me about the bus?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> My initial idea was like, maybe we can laser cut a bus and paint it, like a mini bus. But Celi was able to call someone who knew somebody who was able to get us in touch with the SFMTA. And we were able to have the bus donated. That was a huge blessing, completely unexpected in so many ways. And it became the centerpiece of the show.\u003c/p>\n\u003cp>A lot of love and planning and time was poured into the bus. We’re showing our vision of the temple bus, the altar bus, the ultimate psychedelic bus experience. And in so many ways it’s the true bus, the bus of our deep consciousness. I did the exterior art on the bus. And Ling Ling [Lee], who is Mey’s sibling and my close friend, designed a lot of the interior. The bus is meant to be a transformative piece that really ties together all of the nostalgia of the past with the possibilities of the future.\u003c/p>\n\u003cfigure id=\"attachment_13926161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-1.jpg\" alt=\"Close-up view of plants and photographs in altar arrangement\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up shot of the altar aboard ‘Altared SF’ by Sasha Vu and Ling Ling Lee. The photo on the left features Alex Nieto, who was killed by San Francisco police in 2014. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Before we wrap up, what are some of your favorite bus lines and destinations on them?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I’ll talk about the 44 because that’s basically how I met my best friend. She grew up in the Bayview. The 44 goes from the Bayview to Geary and California, it traverses the city. It’s such a journey. We would see each other in the morning, we would wait for the bus together after school. These were the moments that solidified our connection. She’s been my best friend for the past 15 years, and I really have the 44 to thank for that. And some locations along the 44 — Green Apple Books. Hing Wang Bakery on 9th and Judah. Yeah. Golden Gate Park. We would all go to the arboretum after school.\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> For me the line I took home was the K Ingleside. It travels a very foggy, liminal route unreached by a lot of other buses. I grew up in the Mission and Ingleside, but during high school my family was in Ingleside. I would take the bus from my house to Castro and I’d get a slice of pizza at Marcello’s. And then I would walk down to Dolores Park, where all the homies were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003ci>‘Muni Raised Me’ is on view at SOMArts through April 9, 2023. \u003ca href=\"https://somarts.org/event/muniraisedme/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The curators of SOMArts' new group show tell us how they fit a bus into a gallery and why nostalgia matters.","status":"publish","parent":0,"modified":1705005745,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1962},"headData":{"title":"‘Muni Raised Me’ Review: An Ode to Working-Class San Francisco | KQED","description":"The curators of SOMArts' new group show tell us how they fit a bus into a gallery and why nostalgia matters.","ogTitle":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","ogDescription":"","ogImgId":"","twTitle":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","twDescription":"","twImgId":"","socialTitle":"‘Muni Raised Me’ Review: An Ode to Working-Class San Francisco %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","datePublished":"2023-03-14T18:44:40.000Z","dateModified":"2024-01-11T20:42:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926133/muni-raised-me-somarts-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost every longtime Bay Area resident has their favorite Muni route. For me, it’s the 38, the bus that starts downtown, then cruises past the Fillmore and Japantown to the Richmond District. When I exit through the back doors and into the heart of San Francisco’s Russian-speaking immigrant neighborhood, the smells of church frankincense and fresh rye bread awaken some of my favorite childhood memories.\u003c/p>\n\u003cp>As an immigrant kid growing up in the East Bay, my family’s frequent trips to San Francisco anchored me in my cultural identity. So I felt an instant connection to the intimate, poetic way 13 San Francisco-born-and-raised artists approach city life and public transit in the new group exhibition \u003ca href=\"https://somarts.org/event/muniraisedme/\">\u003ci>Muni Raised Me\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>In the SOMArts show curated by Meymey Lee, \u003ca href=\"http://www.sashavu.com/\">Sasha Vu\u003c/a> and Celi Tamayo-Lee, bus lines are the arteries that connect immigrant, Black and working-class neighborhoods — the heart and soul of San Francisco culture. The multicultural crew of artists tells collective and personal histories through installations, paintings, audio and video. In the context of record-shattering rent prices and ongoing displacement, their memories feel like precious keepsakes.\u003c/p>\n\u003cp>The centerpiece in SOMArts’ high-ceilinged, warehouse gallery is \u003ci>Altared SF\u003c/i> by Sasha Vu and Ling Ling Lee, a real-life, decommissioned Muni bus turned into a temple with an original soundtrack of beats by Vu’s brother, Ben Vu. The \u003ci>Magic School Bus\u003c/i>-esque, psychedelic ride transports viewers with its maximalist assemblages of objects, each one evoking a different San Francisco cultural touchpoint.\u003c/p>\n\u003cp>As I took in the hippie-raver curios, Buddhist statues and rainbow decorations, I arrived at a quiet moment of contemplation. In the back, an altar honors victims of police brutality, including Mario Woods and Alex Nieto, whose deaths galvanized San Francisco’s movement for police accountability over the past decade. Like much of \u003ci>Muni Raised Me\u003c/i>, the piece feels joyful yet grounded in a sobering reality.\u003c/p>\n\u003cfigure id=\"attachment_13926157\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-3.jpg\" alt=\"A circular passageway decorated with plants and rainbows ending in an altar\" width=\"1920\" height=\"1269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1536x1015.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A view inside ‘Altared SF’ by Sasha Vu and Ling Ling Lee. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art in \u003ci>Muni Raised Me\u003c/i> mimics the texture and aliveness of the City. Music videos by local artists such as Qing Qi, La Doña, A-1 and Baghead bring a house party soundtrack. Ben Vu’s short film \u003ci>All That and Dim Sum\u003c/i> radiates warmth, reminding us that San Francisco is also a city of families who eat dumplings together on Sundays — not just individualistic strivers. Sophia Mitty’s custom embroidery on jackets tells stories through workwear-inspired fashion. And tanea lunsford lynx’s installation, a listening booth collaged with family photos, plays poems about connection, loss and longing from her point of view as a fourth-generation Black San Franciscan.\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>\u003ci>Muni Raised Me\u003c/i> feels intentional and full of care, which falls in line with the three curators’ mission to be of service. Outside of their art practices, Vu and Lee are both educators, and Tamayo-Lee is the co-director of \u003ca href=\"https://www.sfrising.org/\">San Francisco Rising\u003c/a>, an organization that aims to politically empower working class people of color. I spoke with them about their vision for the show, their favorite Muni routes and how they managed to fit a real bus into a gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925483","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ci>This conversation has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nastia Voynovskaya: I was struck by how so many of the artists involved are also organizers and educators who pour themselves into their community. What does that say to you about the art scene in San Francisco?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu\u003c/b>: That’s a fascinating question because I feel like it really speaks to specifically this art show, not so much the larger art scene in San Francisco. So many of the folks I know who stayed in the City, who have grown up here, have had to balance their identity as artists with other professions, especially if you’re a local up-and-coming artist. Then I think also looking at the world through the artistic lens, it really lends itself to seeing various cracks and injustices, which therefore puts you in a place where you’re like, “How can I have my art better serve the community? How can my being better serve the community?”\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> Public institutions are the things that raised us, so public transit, public schools and public parks. I think we really benefited from a really robust civil infrastructure. That really does speak to a San Francisco spirit, a very service-oriented sense of giving back to the city that raised us.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> [\u003ci>Muni Raised Me\u003c/i> is] a huge shoutout to the bus drivers, the teachers, the after-school caregivers, the volunteers who worked during recess or helped us cross the street. In so many ways, we spent more time with those adults than some of our own parents. And I think for me, there’s a feeling of just wanting to re-seed that in today’s youth and share that love that we’ve been given, and getting to be that cool, weird, funky adult. It’s a piece of pride for a lot of us.\u003c/p>\n\u003cfigure id=\"attachment_13926158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-5.jpg\" alt=\"Handmade black and white jacket with symbols of city life embroidered\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the garments in Sophia Mitty’s installation ‘Ode to SF,’ on view in ‘Muni Raised Me’ at SOMArts. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So many of the pieces in the show feel nostalgic and centered on childhood memories. What’s the importance of that to you as curators and artists?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> So much of this show is pulling from a deep-seated nostalgia that really comes from having roots here. It’s an accumulation of 20 to 40 years of being in the same place. Being able to pull from childhood is such a unique lens because there are so many people here who didn’t grow up here, who are transplants in various ways and will never see the city through the same lens that we see it. And this is kind of offering a peek into that world.\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I felt nostalgia when I was like 17. Nostalgia is such a forced emotion when you grow up in San Francisco because the change has just been so rapid and incredible. And maybe that’s just the nature of cities. But also there was definitely a malicious edge to it, you know, watching the tech industry come in, watching so many working-class families leave — so many of our friends and family. There’s a lot of sadness. We wanted to honor the pride and the sadness and the joy we have here.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> And to romanticize the ’90s in San Francisco. It was coming off the coattails of the AIDS epidemic and the war on drugs. There was such a vivacious and growing queer community. I felt like my childhood was very infused with a lot of music and art and street festivals and free concerts in the park. I feel like it takes a lot more effort to find that and build that nowadays.\u003c/p>\n\u003cfigure id=\"attachment_13926159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-6.jpg\" alt=\"Colorful collage of bus tickets with text about Halloween in the Castro\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up of the family photos in tanea lunsford lynx’s oral history audio installation, ‘I Used to Live Here.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It seems like collaboration played a pretty big role on the show, in some of the pieces themselves and also in your process as the three curators. Could you tell me a little bit about that and how it relates to the spirit of this exhibit?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> So much of this show has been really about looking around and realizing that I’m in community with so many amazing people, artists and educators and curators that don’t really have a place to shine. So many of the artists we’ve known since high school. I’ve known Sasha since I was five and Celi since middle school. Having these relationships that go really far back has definitely been the backbone and the saving grace. It’s been so amazing to see these wonderful people in a whole new light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925416","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> I think it was also a beautiful process of learning about each other outside of just being friends. Mey was like, “You know what? Like, screw it. I’m just going to try and apply to [SOMArts’ Curatorial Residency Program]. Here is my vision.” And we were like, “OK, we will follow you.” A third of the gallery is pieces by Sasha. Sasha has just had that artistic ambition to bring a lot of her skills and vision to a single place. I was the admin dom in terms of, “Are we meeting deadlines? Are we crossing our t’s dotting our i’s?” Learning how to work together has also just been like a big part of community building.\u003c/p>\n\u003cp>\u003cb>Sasha, could you tell me about the bus?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> My initial idea was like, maybe we can laser cut a bus and paint it, like a mini bus. But Celi was able to call someone who knew somebody who was able to get us in touch with the SFMTA. And we were able to have the bus donated. That was a huge blessing, completely unexpected in so many ways. And it became the centerpiece of the show.\u003c/p>\n\u003cp>A lot of love and planning and time was poured into the bus. We’re showing our vision of the temple bus, the altar bus, the ultimate psychedelic bus experience. And in so many ways it’s the true bus, the bus of our deep consciousness. I did the exterior art on the bus. And Ling Ling [Lee], who is Mey’s sibling and my close friend, designed a lot of the interior. The bus is meant to be a transformative piece that really ties together all of the nostalgia of the past with the possibilities of the future.\u003c/p>\n\u003cfigure id=\"attachment_13926161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-1.jpg\" alt=\"Close-up view of plants and photographs in altar arrangement\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up shot of the altar aboard ‘Altared SF’ by Sasha Vu and Ling Ling Lee. The photo on the left features Alex Nieto, who was killed by San Francisco police in 2014. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Before we wrap up, what are some of your favorite bus lines and destinations on them?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I’ll talk about the 44 because that’s basically how I met my best friend. She grew up in the Bayview. The 44 goes from the Bayview to Geary and California, it traverses the city. It’s such a journey. We would see each other in the morning, we would wait for the bus together after school. These were the moments that solidified our connection. She’s been my best friend for the past 15 years, and I really have the 44 to thank for that. And some locations along the 44 — Green Apple Books. Hing Wang Bakery on 9th and Judah. Yeah. Golden Gate Park. We would all go to the arboretum after school.\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> For me the line I took home was the K Ingleside. It travels a very foggy, liminal route unreached by a lot of other buses. I grew up in the Mission and Ingleside, but during high school my family was in Ingleside. I would take the bus from my house to Castro and I’d get a slice of pizza at Marcello’s. And then I would walk down to Dolores Park, where all the homies were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003ci>‘Muni Raised Me’ is on view at SOMArts through April 9, 2023. \u003ca href=\"https://somarts.org/event/muniraisedme/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926133/muni-raised-me-somarts-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10342","arts_10278","arts_1332","arts_7718","arts_2207","arts_585","arts_901"],"featImg":"arts_13926155","label":"arts_140"},"arts_13922560":{"type":"posts","id":"arts_13922560","meta":{"index":"posts_1591205157","site":"arts","id":"13922560","score":null,"sort":[1670620715000]},"guestAuthors":[],"slug":"at-somarts-the-indigo-project-weaves-the-threads-of-black-history","title":"At SOMArts, 'The Indigo Project' Weaves the Threads of Black History","publishDate":1670620715,"format":"standard","headTitle":"At SOMArts, ‘The Indigo Project’ Weaves the Threads of Black History | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The leaves from indigo trees have been used to dye fabric for ages. Through this one plant, one can tell the story of royalty, enslavement and the African diaspora.\u003c/p>\n\u003cp>The use of indigo dye reportedly originated in India. But for centuries it’s been used amongst nobles in West Africa, where fabrics were made so appealing they were once \u003ca href=\"https://www.npr.org/2011/11/07/142094103/indigo-the-indelible-color-that-ruled-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">used as currency\u003c/a>. When enslaved Africans were brought to the United States, their ability to harvest and use indigo was at one point more lucrative than cotton.\u003c/p>\n\u003cp>Now, in an exhibition at SOMArts titled \u003cem>\u003ca href=\"https://somarts.org/event/theindigoproject/\">The Indigo Project\u003c/a>\u003c/em>, a duo of Bay Area-based curators explore the common thread between African descendants in the United States, deep blue dye, and the fabrics we use for art and fashion.\u003c/p>\n\u003cp>Reflecting this history through an art exhibit is an idea that initially came to \u003ca href=\"https://linktr.ee/Bushmama\" target=\"_blank\" rel=\"noopener noreferrer\">Bushmama Africa\u003c/a>, an artist and community priest, as she sat in New Orleans’ Congress Square on Halloween in 2017. While she can trace her family’s lineage back to the area, she says, she was looking for something deeper than DNA. She was on a spiritual mission.\u003c/p>\n\u003cp>“I needed to figure out what was the thread between indigo, denim and cotton, as it relates to us as Africans and African Americans,” says Bushmama.\u003c/p>\n\u003cfigure id=\"attachment_13922568\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13922568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/closeline-1020x1194.jpg\" alt='\"Clothesline\" by Abayomi Anli' width=\"480\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-1020x1194.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-800x936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-768x899.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline.jpg 1080w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘Clothesline,’ by Abayomi Anli. \u003ccite>(Abayomi Anli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began reading and researching, as well as reaching out to people like \u003ca href=\"https://linktr.ee/sagebae333\" target=\"_blank\" rel=\"noopener noreferrer\">Isha Rosemond\u003c/a>. A post-disciplinary artist and founder of the\u003ca href=\"https://blackfreedomfellowship.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Freedom Fellowship\u003c/a>, Rosemond is no stranger to the overlap of art and the African diaspora — whether raising funds for artists in Haiti through the \u003ca href=\"https://blackfreedomfellowship.com/black-freedom-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freedom Fund\u003c/a>, or being an an artist in residence in the Brazilian organization \u003ca href=\"https://mirantexiquexique.org/isha-rosemond/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirante Xique Xique\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea clicked (Bushmama calls Rosemond a “spiritual goddaughter”), and a collaboration for \u003cem>The Indigo Project\u003c/em> was born.\u003c/p>\n\u003cp>When asked what attendees should expect, Bushmama says, “They’re going to see a lot of blue.” Laughing and continuing, she adds, “Not so much so that they’re over-inundated. The walls are mostly white. But we threw blue in there where it needed to be.”\u003c/p>\n\u003cfigure id=\"attachment_13922595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg\" alt=\"Two separate headshots in diptych, both showing Black women stylishly dressed and adorned in indigo \" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bushmama Africa and Isha Rosemond of ‘The Indigo Project.’ \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By using visual art, audio recordings and artistic lighting, Bushmama and Rosemond aim to lead people on a spiritual journey. Bushmama predicts that eventgoers will “see their grandparents in the faces of some of these people. They’re going to feel some tingles and some moans.”\u003c/p>\n\u003cp>“The opening is an \u003cem>opening\u003c/em> in the most literal sense,” says Rosemond, noting that it’s the end of the year, and with an end comes the beginning of something new.\u003c/p>\n\u003cp>It also nods to a holiday celebration unlike any other: “It’s the one where they gave the people in the field a day of rest, where they could eat and make merriment with each other,” says Bushmama. “This is how they stayed fortified and strong throughout all the oppression they endured.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Indigo Project,’ with works from Abayomi Anli, Nikesha Breeze, Ashara Ekundayo, Stephen Hamilton, Courtney Desiree Morris, Rachel Parrish, Bryan Keith Thomas, Bushmama Africa and Isha Rosemond, runs Dec. 9–Feb. 5 at SOMArts in San Francisco. A \u003ca href=\"https://www.eventbrite.com/e/the-indigo-project-opening-reception-tickets-468758648737\">free opening reception\u003c/a> is on Friday, Dec. 9, from 6 p.m.–9 p.m. \u003ca href=\"https://somarts.org/event/theindigoproject/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At SOMArts, a new exhibition explores the spiritual relationship of indigo dye to descendants of the transatlantic slave trade. ","status":"publish","parent":0,"modified":1705006068,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":582},"headData":{"title":"At SOMArts, 'The Indigo Project' Weaves the Threads of Black History | KQED","description":"At SOMArts, a new exhibition explores the spiritual relationship of indigo dye to descendants of the transatlantic slave trade. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SOMArts, 'The Indigo Project' Weaves the Threads of Black History","datePublished":"2022-12-09T21:18:35.000Z","dateModified":"2024-01-11T20:47:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13922560/at-somarts-the-indigo-project-weaves-the-threads-of-black-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leaves from indigo trees have been used to dye fabric for ages. Through this one plant, one can tell the story of royalty, enslavement and the African diaspora.\u003c/p>\n\u003cp>The use of indigo dye reportedly originated in India. But for centuries it’s been used amongst nobles in West Africa, where fabrics were made so appealing they were once \u003ca href=\"https://www.npr.org/2011/11/07/142094103/indigo-the-indelible-color-that-ruled-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">used as currency\u003c/a>. When enslaved Africans were brought to the United States, their ability to harvest and use indigo was at one point more lucrative than cotton.\u003c/p>\n\u003cp>Now, in an exhibition at SOMArts titled \u003cem>\u003ca href=\"https://somarts.org/event/theindigoproject/\">The Indigo Project\u003c/a>\u003c/em>, a duo of Bay Area-based curators explore the common thread between African descendants in the United States, deep blue dye, and the fabrics we use for art and fashion.\u003c/p>\n\u003cp>Reflecting this history through an art exhibit is an idea that initially came to \u003ca href=\"https://linktr.ee/Bushmama\" target=\"_blank\" rel=\"noopener noreferrer\">Bushmama Africa\u003c/a>, an artist and community priest, as she sat in New Orleans’ Congress Square on Halloween in 2017. While she can trace her family’s lineage back to the area, she says, she was looking for something deeper than DNA. She was on a spiritual mission.\u003c/p>\n\u003cp>“I needed to figure out what was the thread between indigo, denim and cotton, as it relates to us as Africans and African Americans,” says Bushmama.\u003c/p>\n\u003cfigure id=\"attachment_13922568\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13922568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/closeline-1020x1194.jpg\" alt='\"Clothesline\" by Abayomi Anli' width=\"480\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-1020x1194.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-800x936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-768x899.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline.jpg 1080w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘Clothesline,’ by Abayomi Anli. \u003ccite>(Abayomi Anli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began reading and researching, as well as reaching out to people like \u003ca href=\"https://linktr.ee/sagebae333\" target=\"_blank\" rel=\"noopener noreferrer\">Isha Rosemond\u003c/a>. A post-disciplinary artist and founder of the\u003ca href=\"https://blackfreedomfellowship.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Freedom Fellowship\u003c/a>, Rosemond is no stranger to the overlap of art and the African diaspora — whether raising funds for artists in Haiti through the \u003ca href=\"https://blackfreedomfellowship.com/black-freedom-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freedom Fund\u003c/a>, or being an an artist in residence in the Brazilian organization \u003ca href=\"https://mirantexiquexique.org/isha-rosemond/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirante Xique Xique\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>The idea clicked (Bushmama calls Rosemond a “spiritual goddaughter”), and a collaboration for \u003cem>The Indigo Project\u003c/em> was born.\u003c/p>\n\u003cp>When asked what attendees should expect, Bushmama says, “They’re going to see a lot of blue.” Laughing and continuing, she adds, “Not so much so that they’re over-inundated. The walls are mostly white. But we threw blue in there where it needed to be.”\u003c/p>\n\u003cfigure id=\"attachment_13922595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg\" alt=\"Two separate headshots in diptych, both showing Black women stylishly dressed and adorned in indigo \" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bushmama Africa and Isha Rosemond of ‘The Indigo Project.’ \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By using visual art, audio recordings and artistic lighting, Bushmama and Rosemond aim to lead people on a spiritual journey. Bushmama predicts that eventgoers will “see their grandparents in the faces of some of these people. They’re going to feel some tingles and some moans.”\u003c/p>\n\u003cp>“The opening is an \u003cem>opening\u003c/em> in the most literal sense,” says Rosemond, noting that it’s the end of the year, and with an end comes the beginning of something new.\u003c/p>\n\u003cp>It also nods to a holiday celebration unlike any other: “It’s the one where they gave the people in the field a day of rest, where they could eat and make merriment with each other,” says Bushmama. “This is how they stayed fortified and strong throughout all the oppression they endured.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Indigo Project,’ with works from Abayomi Anli, Nikesha Breeze, Ashara Ekundayo, Stephen Hamilton, Courtney Desiree Morris, Rachel Parrish, Bryan Keith Thomas, Bushmama Africa and Isha Rosemond, runs Dec. 9–Feb. 5 at SOMArts in San Francisco. A \u003ca href=\"https://www.eventbrite.com/e/the-indigo-project-opening-reception-tickets-468758648737\">free opening reception\u003c/a> is on Friday, Dec. 9, from 6 p.m.–9 p.m. \u003ca href=\"https://somarts.org/event/theindigoproject/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922560/at-somarts-the-indigo-project-weaves-the-threads-of-black-history","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2438","arts_1696","arts_2171","arts_1146","arts_7723","arts_2207","arts_585"],"featImg":"arts_13922593","label":"arts_140"},"arts_13905629":{"type":"posts","id":"arts_13905629","meta":{"index":"posts_1591205157","site":"arts","id":"13905629","score":null,"sort":[1635879324000]},"guestAuthors":[],"slug":"oakland-adrian-arias-honors-bay-area-artists-at-somarts-and-mission-cultural-center-day-of-the-dead","title":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up","publishDate":1635879324,"format":"audio","headTitle":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>At the \u003ca href=\"https://missionculturalcenter.org/day-of-the-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Cultural Center for Latino Arts\u003c/a> in San Francisco, Oakland-based artist \u003ca href=\"http://adrianarias.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Arias\u003c/a> stands in front of an altar he created to memorialize Bay Area visual artist \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López\u003c/a>, who died in September of cancer.\u003c/p>\n\u003cp>The elaborate assemblage of objects from López’s life features tubes of paint, brushes, furniture and clothes framing Arias’ feathery painted portrait of López wearing a sweeping pair of wings.\u003c/p>\n\u003cp>“She was a friend, a mentor, and one of the most important Chicano artists,” Arias says. “She was an inspiration for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13905682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Arias’s altar to Bay Area artist Yolanda López at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This altar is one of several memorials Arias has created this year for Día de los Muertos (Day of the Dead) in honor of Bay Area artists who died in 2021.\u003c/p>\n\u003cp>[aside postID='arts_13903264']With its roots in Mexico, Day of the Dead is now observed across Latin America and the United States, and honors loved ones who have died. One of the main traditions is making elaborate memorial altars featuring candles, photographs, the deceased’s possessions, and candy skulls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the altars on view at the Mission Cultural Center—which serves as a kind of “ground zero” for the holiday in San Francisco—are not focused on artists. But altars dedicated specifically to memorializing artists have been a particular focus at the center over the years.\u003c/p>\n\u003cp>“This being a cultural and artistic center, we particularly think that this should be the place where we honor artists,” says Jennie Rodriguez, the center’s executive director.\u003c/p>\n\u003cfigure id=\"attachment_13905683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main altar at Mission Cultural Center for Latino Arts, by the Bay Area artist collective Manos Creativas, riffs on many symbols associated with Dia de los Muertos, rather than on memorializing a specific artists. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bridge Between the Dead and the Living\u003c/h2>\n\u003cp>The theme and title of this year’s Day of the Dead celebration (the Mission Cultural Center’s 35th), is \u003ci>\u003ca href=\"https://missionculturalcenter.org/day-of-the-dead?event_date=2021-11-02\" target=\"_blank\" rel=\"noopener noreferrer\">Ni Tanto Ni Tan Muertos (Neither so many nor so dead)\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>“Neither so many, because there are so many more of us that are alive,” Rodriguez says. “And nor so dead, because the dead are still with us; they accompany us in our memories.”\u003c/p>\n\u003cp>Arias takes this theme to heart as an artist who’s been \u003ca href=\"http://adrianarias.com/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener noreferrer\">making these altars for years\u003c/a> as a sort of bridge between the dead and the living. “The aim is to create these invisible lines that inspire people to do things,” Arias says, adding that the action he hopes to inspire can take several forms, from making art to being kind to others.\u003c/p>\n\u003cfigure id=\"attachment_13905684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Artist Adrian Arias, Mission Cultural Center executive director Jennie Rodriguez and Manos Creativas member Marco Morales. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His installations honoring dead artists have been exhibited at Davies Symphony Hall and the Oakland Museum of California, among other cultural spaces.\u003c/p>\n\u003cp>The artist typically does one or two installations a year. But in 2021, Arias says he’s barely been able to keep up with the death toll among his friends and mentors—even when the COVID-19 pandemic lockdown gave him plenty of focused studio time.\u003c/p>\n\u003cp>“That was so intense,” he says. “You just paint and paint and paint and paint.”\u003c/p>\n\u003cp>Besides the altar to López, his offerings for 2021 honor postmodern dance pioneer \u003ca href=\"https://www.kqed.org/arts/13897850/remembering-anna-halprin-a-pioneering-choreographer\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Halprin\u003c/a>, visual artist \u003ca href=\"https://www.kqed.org/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, and poets \u003ca href=\"https://en.wikipedia.org/wiki/Jack_Hirschman#Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Hirschman\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11883109/janice-mirikitani-glide-co-founder-and-sf-poet-laureate-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Mirikitani\u003c/a>. All died this year and had strong ties to the Bay Area. All but one, Liu, were people with whom Arias had a powerful personal connection.\u003c/p>\n\u003cp>“He became my mentor in poetry,” Arias says of Hirschman, who died Aug. 22 at age 87. “Very generous, like a father figure.”\u003c/p>\n\u003cp>Arias studied dance with Halprin and collaborated with her. Despite her age (she was 100 when she died on May 24), Arias says, “Most of my community, we think that Anna was immortal, because she was moving at 99.”\u003c/p>\n\u003cfigure id=\"attachment_13905686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section from Adrian Arias’s altar to Anna Halprin at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Day of the Dead As a Social Justice Tool\u003c/h2>\n\u003cp>But not all of Arias’ Day of the Dead creations are about artists.\u003c/p>\n\u003cp>Over at \u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts Cultural Center\u003c/a>, Arias has made an altar memorializing five young Latinx people killed by police officers in the U.S. and Mexico in recent years. Among them are Bay Area locals Mario Gonzalez and Sean Monterrosa.\u003c/p>\n\u003cp>Arias says the public doesn’t know enough about the many individuals who have lost their lives to police violence. Honoring them on Day of the Dead is a way to keep their lives and stories at the forefront and galvanize people to take a stand against the ongoing killings.\u003c/p>\n\u003cp>“We need to develop art as a social justice tool,” he says. “Day of the Dead is the perfect moment to do that.”\u003c/p>\n\u003cp>The massive black-and-white portraits on paper are suspended from the ceiling of the gallery. They undulate and creak whenever a breeze passes through.\u003c/p>\n\u003cp>“They look like they are alive,” Arias says.\u003c/p>\n\u003cp>Whether he knew them in life or not, Arias talks about the subjects of his Day of the Dead altars as if they’re still among us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting a hand to his heart, he says: “They’re right here.”\u003c/p>\n\n","blocks":[],"excerpt":"Adrian Arias' Day of the Dead altars memorialize figures like Yolanda López, Hung Liu and Anna Halprin.","status":"publish","parent":0,"modified":1705007531,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":952},"headData":{"title":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up | KQED","description":"Adrian Arias' Day of the Dead altars memorialize figures like Yolanda López, Hung Liu and Anna Halprin.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Bay Area Art Scene Lost So Many in 2021, This Altar-Maker Could Barely Keep Up","datePublished":"2021-11-02T18:55:24.000Z","dateModified":"2024-01-11T21:12:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/03161417-791a-4e5a-afe7-add4011e1e56/audio.mp3","sticky":false,"WpOldSlug":"the-bay-area-art-scene-lost-so-many-in-2021-this-altar-maker-could-barely-keep-up","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905629/oakland-adrian-arias-honors-bay-area-artists-at-somarts-and-mission-cultural-center-day-of-the-dead","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the \u003ca href=\"https://missionculturalcenter.org/day-of-the-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Cultural Center for Latino Arts\u003c/a> in San Francisco, Oakland-based artist \u003ca href=\"http://adrianarias.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian Arias\u003c/a> stands in front of an altar he created to memorialize Bay Area visual artist \u003ca href=\"https://www.kqed.org/arts/13903264/yolanda-lopez-remembrance-chicanx-art\" target=\"_blank\" rel=\"noopener noreferrer\">Yolanda López\u003c/a>, who died in September of cancer.\u003c/p>\n\u003cp>The elaborate assemblage of objects from López’s life features tubes of paint, brushes, furniture and clothes framing Arias’ feathery painted portrait of López wearing a sweeping pair of wings.\u003c/p>\n\u003cp>“She was a friend, a mentor, and one of the most important Chicano artists,” Arias says. “She was an inspiration for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13905682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52253_IMG_5954-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Arias’s altar to Bay Area artist Yolanda López at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This altar is one of several memorials Arias has created this year for Día de los Muertos (Day of the Dead) in honor of Bay Area artists who died in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903264","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With its roots in Mexico, Day of the Dead is now observed across Latin America and the United States, and honors loved ones who have died. One of the main traditions is making elaborate memorial altars featuring candles, photographs, the deceased’s possessions, and candy skulls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the altars on view at the Mission Cultural Center—which serves as a kind of “ground zero” for the holiday in San Francisco—are not focused on artists. But altars dedicated specifically to memorializing artists have been a particular focus at the center over the years.\u003c/p>\n\u003cp>“This being a cultural and artistic center, we particularly think that this should be the place where we honor artists,” says Jennie Rodriguez, the center’s executive director.\u003c/p>\n\u003cfigure id=\"attachment_13905683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52254_IMG_5950-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main altar at Mission Cultural Center for Latino Arts, by the Bay Area artist collective Manos Creativas, riffs on many symbols associated with Dia de los Muertos, rather than on memorializing a specific artists. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bridge Between the Dead and the Living\u003c/h2>\n\u003cp>The theme and title of this year’s Day of the Dead celebration (the Mission Cultural Center’s 35th), is \u003ci>\u003ca href=\"https://missionculturalcenter.org/day-of-the-dead?event_date=2021-11-02\" target=\"_blank\" rel=\"noopener noreferrer\">Ni Tanto Ni Tan Muertos (Neither so many nor so dead)\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>“Neither so many, because there are so many more of us that are alive,” Rodriguez says. “And nor so dead, because the dead are still with us; they accompany us in our memories.”\u003c/p>\n\u003cp>Arias takes this theme to heart as an artist who’s been \u003ca href=\"http://adrianarias.com/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener noreferrer\">making these altars for years\u003c/a> as a sort of bridge between the dead and the living. “The aim is to create these invisible lines that inspire people to do things,” Arias says, adding that the action he hopes to inspire can take several forms, from making art to being kind to others.\u003c/p>\n\u003cfigure id=\"attachment_13905684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52249_IMG_5938-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Artist Adrian Arias, Mission Cultural Center executive director Jennie Rodriguez and Manos Creativas member Marco Morales. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His installations honoring dead artists have been exhibited at Davies Symphony Hall and the Oakland Museum of California, among other cultural spaces.\u003c/p>\n\u003cp>The artist typically does one or two installations a year. But in 2021, Arias says he’s barely been able to keep up with the death toll among his friends and mentors—even when the COVID-19 pandemic lockdown gave him plenty of focused studio time.\u003c/p>\n\u003cp>“That was so intense,” he says. “You just paint and paint and paint and paint.”\u003c/p>\n\u003cp>Besides the altar to López, his offerings for 2021 honor postmodern dance pioneer \u003ca href=\"https://www.kqed.org/arts/13897850/remembering-anna-halprin-a-pioneering-choreographer\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Halprin\u003c/a>, visual artist \u003ca href=\"https://www.kqed.org/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, and poets \u003ca href=\"https://en.wikipedia.org/wiki/Jack_Hirschman#Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Hirschman\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11883109/janice-mirikitani-glide-co-founder-and-sf-poet-laureate-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Janice Mirikitani\u003c/a>. All died this year and had strong ties to the Bay Area. All but one, Liu, were people with whom Arias had a powerful personal connection.\u003c/p>\n\u003cp>“He became my mentor in poetry,” Arias says of Hirschman, who died Aug. 22 at age 87. “Very generous, like a father figure.”\u003c/p>\n\u003cp>Arias studied dance with Halprin and collaborated with her. Despite her age (she was 100 when she died on May 24), Arias says, “Most of my community, we think that Anna was immortal, because she was moving at 99.”\u003c/p>\n\u003cfigure id=\"attachment_13905686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/RS52252_IMG_5939-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A section from Adrian Arias’s altar to Anna Halprin at Mission Cultural Center for Latino Arts \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Day of the Dead As a Social Justice Tool\u003c/h2>\n\u003cp>But not all of Arias’ Day of the Dead creations are about artists.\u003c/p>\n\u003cp>Over at \u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts Cultural Center\u003c/a>, Arias has made an altar memorializing five young Latinx people killed by police officers in the U.S. and Mexico in recent years. Among them are Bay Area locals Mario Gonzalez and Sean Monterrosa.\u003c/p>\n\u003cp>Arias says the public doesn’t know enough about the many individuals who have lost their lives to police violence. Honoring them on Day of the Dead is a way to keep their lives and stories at the forefront and galvanize people to take a stand against the ongoing killings.\u003c/p>\n\u003cp>“We need to develop art as a social justice tool,” he says. “Day of the Dead is the perfect moment to do that.”\u003c/p>\n\u003cp>The massive black-and-white portraits on paper are suspended from the ceiling of the gallery. They undulate and creak whenever a breeze passes through.\u003c/p>\n\u003cp>“They look like they are alive,” Arias says.\u003c/p>\n\u003cp>Whether he knew them in life or not, Arias talks about the subjects of his Day of the Dead altars as if they’re still among us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Putting a hand to his heart, he says: “They’re right here.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13905629/oakland-adrian-arias-honors-bay-area-artists-at-somarts-and-mission-cultural-center-day-of-the-dead","authors":["8608"],"categories":["arts_1"],"tags":["arts_2839","arts_10278","arts_3649","arts_3181","arts_2207"],"featImg":"arts_13905632","label":"arts"},"arts_13900532":{"type":"posts","id":"arts_13900532","meta":{"index":"posts_1591205157","site":"arts","id":"13900532","score":null,"sort":[1628208840000]},"guestAuthors":[],"slug":"lullabies-transmit-intimate-and-difficult-knowledge-in-sounds-like-home","title":"Lullabies Transmit Intimate and Difficult Knowledge in ‘Sounds Like Home’","publishDate":1628208840,"format":"standard","headTitle":"Lullabies Transmit Intimate and Difficult Knowledge in ‘Sounds Like Home’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you’re a parent, it’s likely you’ve spent many dark morning hours trying to comfort a fussy child with combinations of food, cuddles and maybe a lullaby. Perhaps you sang \u003ci>Hush Little Baby\u003c/i> or \u003ci>You Are My Sunshine\u003c/i>, English counterparts to global cradle songs, all of which transmit generational knowledge and experience. \u003ci>\u003ca href=\"https://somarts.org/event/soundslikehome/\" target=\"_blank\" rel=\"noopener noreferrer\">Sounds Like Home: Longing and Comfort Through Lullabies\u003c/a>\u003c/i>, on view at SOMArts through Aug. 22, takes up this humble yet powerful folkloric form as a space for both intimacy and social awareness.\u003c/p>\n\u003cp>\u003ci>Sounds Like Home\u003c/i> stems from curators and twin sisters Duygu and Bengü Gün, their love of music, and their shared experiences of family migration. Though the sisters are split between San Francisco and Istanbul, they and the rest of the 2019–20 SOMArts Curatorial Residency cohort pivoted to Zoom meetings with Curatorial Residency and Partnership Director Carolina Quintanilla and SOMArts staff while the building was shuttered due to COVID-19. By email, Quintanilla notes that the organization’s tech team took the lead in producing \u003ca href=\"https://somarts.org/soundslikehomevirtualgallery/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual exhibitions\u003c/a>, which were so successful that all future SOMArts installations will include virtual components to extend the reach and impact of the organization’s programming.\u003c/p>\n\u003cfigure id=\"attachment_13900682\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51314167238_cac1da7699_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sounds Like Home’ at SOMArts. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In person, discrete installations throughout the gallery deftly capture \u003ci>Sounds Like Home\u003c/i>’s primary themes. Duygu Gün’s \u003ci>In the Shade\u003c/i> (2021), a trio of backlit drums adorned with minimalist drawings, address lullabies as age-old cautionary tales. A mother weeping for a stolen child and Red Riding Hood’s anti-hero wolf leering over a crib mirror our fear of and fascination with nature, and the danger of defying accepted social norms.\u003c/p>\n\u003cp>Further along the gallery’s curving north wall, projects by \u003ca href=\"http://www.rashinfahandej.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rashin Fahandej\u003c/a> and \u003ca href=\"https://www.terrellartsdc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zsudayka Nzinga Terrell\u003c/a> take up parenting matters that aren’t directly addressed in the traditional lullaby catalog, and therefore warrant attention. Installed in the media space, Fahandej’s \u003ci>A Father’s Lullaby\u003c/i> (2019) highlights how a racist legal system affects men raising children. An ongoing project comprising immersive installations, community workshops, and a participatory audio website, \u003ci>A Father’s Lullaby\u003c/i> helps formerly incarcerated men to connect with and comfort their children through song, powerfully interrupting the problematic \u003ca href=\"https://www.sfchronicle.com/local/justinphillips/article/It-s-time-to-let-go-of-the-absent-Black-16258353.php\" target=\"_blank\" rel=\"noopener noreferrer\">myth of absent Black fathers\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13900540\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51315012335_59c59888eb_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Rashin Fahandej’s ‘A Father’s Lullaby,’ 2019. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Terrell’s mixed-media pieces form a sort of celebratory triptych about Black motherhood and the potency of the parent-child bond. \u003ci>Breastfeeding #2\u003c/i> (2019) references Byzantine icons through front-facing figures and vibrant halos that frame both a mother and child’s heads. This depiction of Black motherhood expertly adopts visual tropes previously used to portray only white femininity, fertility and religious devotion. Nodding to contemporary social concerns, Terrell emphasizes the importance of breastfeeding, and the \u003ca href=\"https://www.pbs.org/newshour/health/racial-disparities-persist-for-breastfeeding-moms-heres-why\">not-so-subtle gaps in maternal and newborn care\u003c/a> that break along racial lines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gracing the east wall, Hannah Reyes Morales’ \u003ca href=\"https://livinglullabies.net/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Living Lullabies\u003c/i>\u003c/a> explores nighttime rituals among families facing grave crises; toxic air pollution in Mongolia, Syria’s unrelenting civil war, and frontline workers isolating themselves from their children at the height of the COVID-19 pandemic. Morales’ subjects embody a universal parental experience as they gently coax an active child toward sleep, marshaling patience when exhaustion and uncertainty rule. Lullabies, like parenting, defy the specifics of language, religion, nationality, and political loyalties. \u003cem>Living Lullabies\u003c/em> introduces minor yet crucial visual grace notes to a media narrative that either ignores or disparages families of color facing crises worldwide.\u003c/p>\n\u003cfigure id=\"attachment_13900535\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51314694374_80a324e5d9_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Zsudayka Nzinga Terrell, ‘Me and My Baby,’ 2019; ‘Bedtime Prayers,’ 2020; and ‘Breastfeeding #2,’ 2019. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anchoring the gallery’s southern wall, Nooshin Hakim’s \u003ci>One Hundred Lullabies\u003c/i> frames cradle songs as a form of mutual aid. Initiated in 2015 in response to ongoing ISIS terrorist attacks throughout the Middle East and Europe, the crowd-sourced project collects lullabies—installed as music box script hung on a stark black wall—from children and adults who have faced conflict’s collateral barbarity. Each collected lullaby was given to only one child who was displaced by war, creating an intimate, one-to-one exchange akin to writing a letter or sending a care package.\u003c/p>\n\u003cp>Originally presented in galleries and museums, the online iteration of Hakim’s project does double duty as a community art project \u003ci>and\u003c/i> experiential archive, and demonstrates how virtual platforms may be used to aggregate and transmit generational knowledge. In a striking visual note, the scripts, gently fluttering against the black background, resemble a deconstructed ISIS flag, its menacing threat metaphorically neutralized. To the right of Hakim’s installation, \u003ca href=\"https://irisergul.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Iris Ergül\u003c/a>’s \u003cem>Old She-Hyena\u003c/em> (2015) takes up some of the dualistic social constructions—body/soul, male/female, nature/culture—that weave through and render lullabies so potent. Considered together, Hakim and Ergül’s projects portray lullabies as virtual and material cultural forms.\u003c/p>\n\u003cfigure id=\"attachment_13900538\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51313225682_1a643465ea_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">İris Ergül, ‘Old She-Hyena,’ 2015. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sounds Like Home\u003c/em> addresses serious subjects that may, at first, seem incongruous with the delicate act of putting a baby to sleep. We should remember, though, that the lyrics of many traditional cradle songs read on paper like murder ballads. Writing on the subject for \u003ca href=\"https://www.pbs.org/newshour/science/many-lullabies-murder-ballads\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, Jenny Marder notes that parents may, when there’s no one else awake to hear it, reckon with fears and anxieties through familiar songs, all while relishing the parent-child bond. Passed down through millennia, lullabies forge intimacy, cultural continuity and, as ethnomusicologist Andrew Pettit tells Marder, “a place to say the unsayable.” \u003cem>Sounds Like Home\u003c/em> marshals a diverse range of conceptual and material interpretations of lullabies, elevating and honoring a modest knowledge base to which we may all relate.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sounds Like Home: Longing and Comfort Through Lullabies’ is on view at SOMArts Cultural Center through Aug. 22. \u003ca href=\"https://somarts.org/event/soundslikehome/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The SOMArts show mines this humble yet powerful folkloric form as a space for both family bonds and social awareness.","status":"publish","parent":0,"modified":1705008009,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1025},"headData":{"title":"Lullabies Transmit Intimate and Difficult Knowledge in ‘Sounds Like Home’ | KQED","description":"The SOMArts show mines this humble yet powerful folkloric form as a space for both family bonds and social awareness.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Lullabies Transmit Intimate and Difficult Knowledge in ‘Sounds Like Home’","datePublished":"2021-08-06T00:14:00.000Z","dateModified":"2024-01-11T21:20:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13900532/lullabies-transmit-intimate-and-difficult-knowledge-in-sounds-like-home","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a parent, it’s likely you’ve spent many dark morning hours trying to comfort a fussy child with combinations of food, cuddles and maybe a lullaby. Perhaps you sang \u003ci>Hush Little Baby\u003c/i> or \u003ci>You Are My Sunshine\u003c/i>, English counterparts to global cradle songs, all of which transmit generational knowledge and experience. \u003ci>\u003ca href=\"https://somarts.org/event/soundslikehome/\" target=\"_blank\" rel=\"noopener noreferrer\">Sounds Like Home: Longing and Comfort Through Lullabies\u003c/a>\u003c/i>, on view at SOMArts through Aug. 22, takes up this humble yet powerful folkloric form as a space for both intimacy and social awareness.\u003c/p>\n\u003cp>\u003ci>Sounds Like Home\u003c/i> stems from curators and twin sisters Duygu and Bengü Gün, their love of music, and their shared experiences of family migration. Though the sisters are split between San Francisco and Istanbul, they and the rest of the 2019–20 SOMArts Curatorial Residency cohort pivoted to Zoom meetings with Curatorial Residency and Partnership Director Carolina Quintanilla and SOMArts staff while the building was shuttered due to COVID-19. By email, Quintanilla notes that the organization’s tech team took the lead in producing \u003ca href=\"https://somarts.org/soundslikehomevirtualgallery/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual exhibitions\u003c/a>, which were so successful that all future SOMArts installations will include virtual components to extend the reach and impact of the organization’s programming.\u003c/p>\n\u003cfigure id=\"attachment_13900682\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51314167238_cac1da7699_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314167238_cac1da7699_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Sounds Like Home’ at SOMArts. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In person, discrete installations throughout the gallery deftly capture \u003ci>Sounds Like Home\u003c/i>’s primary themes. Duygu Gün’s \u003ci>In the Shade\u003c/i> (2021), a trio of backlit drums adorned with minimalist drawings, address lullabies as age-old cautionary tales. A mother weeping for a stolen child and Red Riding Hood’s anti-hero wolf leering over a crib mirror our fear of and fascination with nature, and the danger of defying accepted social norms.\u003c/p>\n\u003cp>Further along the gallery’s curving north wall, projects by \u003ca href=\"http://www.rashinfahandej.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rashin Fahandej\u003c/a> and \u003ca href=\"https://www.terrellartsdc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zsudayka Nzinga Terrell\u003c/a> take up parenting matters that aren’t directly addressed in the traditional lullaby catalog, and therefore warrant attention. Installed in the media space, Fahandej’s \u003ci>A Father’s Lullaby\u003c/i> (2019) highlights how a racist legal system affects men raising children. An ongoing project comprising immersive installations, community workshops, and a participatory audio website, \u003ci>A Father’s Lullaby\u003c/i> helps formerly incarcerated men to connect with and comfort their children through song, powerfully interrupting the problematic \u003ca href=\"https://www.sfchronicle.com/local/justinphillips/article/It-s-time-to-let-go-of-the-absent-Black-16258353.php\" target=\"_blank\" rel=\"noopener noreferrer\">myth of absent Black fathers\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13900540\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51315012335_59c59888eb_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51315012335_59c59888eb_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Rashin Fahandej’s ‘A Father’s Lullaby,’ 2019. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Terrell’s mixed-media pieces form a sort of celebratory triptych about Black motherhood and the potency of the parent-child bond. \u003ci>Breastfeeding #2\u003c/i> (2019) references Byzantine icons through front-facing figures and vibrant halos that frame both a mother and child’s heads. This depiction of Black motherhood expertly adopts visual tropes previously used to portray only white femininity, fertility and religious devotion. Nodding to contemporary social concerns, Terrell emphasizes the importance of breastfeeding, and the \u003ca href=\"https://www.pbs.org/newshour/health/racial-disparities-persist-for-breastfeeding-moms-heres-why\">not-so-subtle gaps in maternal and newborn care\u003c/a> that break along racial lines.\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>Gracing the east wall, Hannah Reyes Morales’ \u003ca href=\"https://livinglullabies.net/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Living Lullabies\u003c/i>\u003c/a> explores nighttime rituals among families facing grave crises; toxic air pollution in Mongolia, Syria’s unrelenting civil war, and frontline workers isolating themselves from their children at the height of the COVID-19 pandemic. Morales’ subjects embody a universal parental experience as they gently coax an active child toward sleep, marshaling patience when exhaustion and uncertainty rule. Lullabies, like parenting, defy the specifics of language, religion, nationality, and political loyalties. \u003cem>Living Lullabies\u003c/em> introduces minor yet crucial visual grace notes to a media narrative that either ignores or disparages families of color facing crises worldwide.\u003c/p>\n\u003cfigure id=\"attachment_13900535\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51314694374_80a324e5d9_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51314694374_80a324e5d9_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Zsudayka Nzinga Terrell, ‘Me and My Baby,’ 2019; ‘Bedtime Prayers,’ 2020; and ‘Breastfeeding #2,’ 2019. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anchoring the gallery’s southern wall, Nooshin Hakim’s \u003ci>One Hundred Lullabies\u003c/i> frames cradle songs as a form of mutual aid. Initiated in 2015 in response to ongoing ISIS terrorist attacks throughout the Middle East and Europe, the crowd-sourced project collects lullabies—installed as music box script hung on a stark black wall—from children and adults who have faced conflict’s collateral barbarity. Each collected lullaby was given to only one child who was displaced by war, creating an intimate, one-to-one exchange akin to writing a letter or sending a care package.\u003c/p>\n\u003cp>Originally presented in galleries and museums, the online iteration of Hakim’s project does double duty as a community art project \u003ci>and\u003c/i> experiential archive, and demonstrates how virtual platforms may be used to aggregate and transmit generational knowledge. In a striking visual note, the scripts, gently fluttering against the black background, resemble a deconstructed ISIS flag, its menacing threat metaphorically neutralized. To the right of Hakim’s installation, \u003ca href=\"https://irisergul.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Iris Ergül\u003c/a>’s \u003cem>Old She-Hyena\u003c/em> (2015) takes up some of the dualistic social constructions—body/soul, male/female, nature/culture—that weave through and render lullabies so potent. Considered together, Hakim and Ergül’s projects portray lullabies as virtual and material cultural forms.\u003c/p>\n\u003cfigure id=\"attachment_13900538\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/51313225682_1a643465ea_o.jpg\" alt=\"\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-13900538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/51313225682_1a643465ea_o-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">İris Ergül, ‘Old She-Hyena,’ 2015. \u003ccite>(Richard Lomibao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sounds Like Home\u003c/em> addresses serious subjects that may, at first, seem incongruous with the delicate act of putting a baby to sleep. We should remember, though, that the lyrics of many traditional cradle songs read on paper like murder ballads. Writing on the subject for \u003ca href=\"https://www.pbs.org/newshour/science/many-lullabies-murder-ballads\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, Jenny Marder notes that parents may, when there’s no one else awake to hear it, reckon with fears and anxieties through familiar songs, all while relishing the parent-child bond. Passed down through millennia, lullabies forge intimacy, cultural continuity and, as ethnomusicologist Andrew Pettit tells Marder, “a place to say the unsayable.” \u003cem>Sounds Like Home\u003c/em> marshals a diverse range of conceptual and material interpretations of lullabies, elevating and honoring a modest knowledge base to which we may all relate.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sounds Like Home: Longing and Comfort Through Lullabies’ is on view at SOMArts Cultural Center through Aug. 22. \u003ca href=\"https://somarts.org/event/soundslikehome/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13900532/lullabies-transmit-intimate-and-difficult-knowledge-in-sounds-like-home","authors":["77"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_769","arts_2207","arts_585"],"featImg":"arts_13900830","label":"arts_140"},"arts_13877348":{"type":"posts","id":"arts_13877348","meta":{"index":"posts_1591205157","site":"arts","id":"13877348","score":null,"sort":[1585071453000]},"guestAuthors":[],"slug":"survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis","title":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis","publishDate":1585071453,"format":"standard","headTitle":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(Photo courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In the art world, contractors have been first to miss expected paychecks, while staff layoffs are rampant.","status":"publish","parent":0,"modified":1705021027,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1000},"headData":{"title":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis | KQED","description":"In the art world, contractors have been first to miss expected paychecks, while staff layoffs are rampant.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis","datePublished":"2020-03-24T17:37:33.000Z","dateModified":"2024-01-12T00:57:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Coverage ","tag":"coronavirus"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\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>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"science_1957877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(Photo courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis","authors":["11091"],"categories":["arts_966","arts_69","arts_235","arts_967","arts_70"],"tags":["arts_3560","arts_1018","arts_11014","arts_10278","arts_10422","arts_1766","arts_746","arts_596","arts_1381","arts_2207","arts_1955"],"featImg":"arts_13876911","label":"arts"},"arts_13874625":{"type":"posts","id":"arts_13874625","meta":{"index":"posts_1591205157","site":"arts","id":"13874625","score":null,"sort":[1581523223000]},"guestAuthors":[],"slug":"recoding-criptech-somarts-review","title":"Recoding CripTech Proudly Asserts Disability as an Identity and Culture","publishDate":1581523223,"format":"standard","headTitle":"Recoding CripTech Proudly Asserts Disability as an Identity and Culture | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Recoding CripTech\u003c/em>\u003c/a>, a stand-out group exhibition on view at SOMArts through Feb. 25, reimagines what a body can be and do. Working with 11 artists and art collaboratives, curators Vanessa Chang and Lindsey D. Felt explore technology as a resource to be harnessed and hacked in service of ethical and wider social visibility for disability culture.\u003c/p>\n\u003cp>Among the themes that drive the exhibition, one is preeminent: disability is \u003ci>not\u003c/i> a pathological state in need of correction. Realized with old and new technologies alike, the objects and discrete installations comprising \u003ci>Recoding CripTech\u003c/i> do not demonstrate a desire to correct the range of challenges each maker lives with. Quite the opposite, in fact. These projects proudly assert disability as a cultural and political identity that demands recognition from non-disabled populations.\u003c/p>\n\u003cp>Language and its role in disability culture is addressed at the outset. “Crip” comes from the slur “cripple.” Like its cruel counterparts—“lame,” “deformed,” “crazy,” and the euphemistically condescending “differently-abled”—“cripple” denotes a cultural and linguistic power dynamic that marks difference as inferior or “other.” Much like “queer” was reappropriated by many in the LGBTQIA+ community, “crip” is used by many within disabled communities to indicate solidarity. From that contextual vantage point, the exhibition registers as a familial, collaborative effort.\u003c/p>\n\u003cfigure id=\"attachment_13874630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg\" alt=\"M Eifler AKA BlinkPopShift & Steve Sedlmayr\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">M Eifler (a.k.a. BlinkPopShift) and Steve Sedlmayr, ‘Prosthetic Memory,’ 2020. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer \u003ca href=\"https://www.toddedwardherman.com/when-i-stop-looking\" target=\"_blank\" rel=\"noopener noreferrer\">Todd Edward Herman\u003c/a> challenges us to think about looking. A meditative 15-minute video, Herman’s \u003cem>When I Stop Looking\u003c/em> (2013) exposes a discomfiting reality: the desire to indulge spectatorial impulses by staring at his subjects, all of whom live with significant facial and cranial conditions. Herman’s reverent, moving work challenges us to consider how the gaze is activated in visually-oriented environments such as museums. What do we derive from looking? What do we extract from those we look at?\u003c/p>\n\u003cp>\u003ci>Recoding CripTech\u003c/i> is replete with cutting-edge adaptive technology, including \u003ci>Prosthetic Memory\u003c/i>, one of two featured projects by M Eifler a.k.a. \u003ca href=\"http://www.blinkpopshift.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BlinkPopShift\u003c/a> and their collaborator Steve Sedlmayr. Set up to resemble the artist’s workspace, the installation includes custom-designed artificial intelligence (AI) that serves as a backup memory. Pages drawn from the artist’s daily written and video journaling practice, organized in a desktop binder, are read by custom software.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the visitor choses a page, the AI reads the content and projects an associated memory on the desk. Eifler created this project to accommodate long-term memory gaps caused by a childhood traumatic brain injury. But rather than emulate a \u003ca href=\"https://www.healthline.com/health/neurotypical\" target=\"_blank\" rel=\"noopener noreferrer\">neurotypical\u003c/a> person’s cognitive processes, the artist strives to capture their unique mental capacities. The installation conveys machine learning’s potential to help people with disabilities live by self-defined terms.\u003c/p>\n\u003cfigure id=\"attachment_13874631\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg\" alt=\"Chun-Shan (Sandie) Yi\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chun-Shan (Sandie) Yi, installation view of ‘Re-Fuse Skin Set,’ ‘Skinny,’ and ‘Dermis Footwear.’ \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though cutting-edge technology is evident throughout this exhibition, work by Chun-Shan (Sandie) Yi and Jillian Crochet hold space for manual practices such as sewing and knitting. Yi, a PhD candidate in disability studies at the University of Illinois-Chicago and founder of \u003ca href=\"https://www.cripcouture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Crip Couture\u003c/a>, makes clothes that draw on the lived experiences of disabled bodies, including memory and medical and surgical interventions.\u003c/p>\n\u003cp>Where conventional prosthetics and orthotics “normalize” bodily movement, Yi’s wares center on and accentuate what is distinctive about the individual and their physical profile and needs. \u003ci>Dermis Footwear\u003c/i> (2011), one of the five projects Yi contributed to the exhibition, includes cutouts in the latex boot specifically designed to accommodate scars on the wearer’s feet. Yi’s wearable art speaks to intimacy, accessibility, and the want to feel attractive or desirable on our own terms. Moreover, Yi’s fashion-focused practice sets up a dynamic contrast to haute couture, the terms of its production, its financial and social exclusivity, and how the bodies that wear such designs are perceived as “normal” or “abnormal.”\u003c/p>\n\u003cfigure id=\"attachment_13874794\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jillian Crochet, ‘My Beating Heart,’ 2014. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greeting visitors as they enter, \u003ci>My Beating Heart\u003c/i> (2014), \u003ca href=\"https://jilliancrochet.com/installation-works/my-beating-heart/\" target=\"_blank\" rel=\"noopener noreferrer\">Jillian Crochet\u003c/a>’s vivid red yarn and metal construction, easily holds space in SOMArts’ cavernous main gallery. Visitors are encouraged to step inside the delicate-yet-durable hanging sculpture. Within, they consider the human heart, necessary for life, and its universality.\u003c/p>\n\u003cp>Crochet’s work activates an array of notions, including domesticity, inherited knowledge, craft as women’s creative outlet and the heart as the metaphorical center of family and community. Looking out at \u003ci>Recoding CripTech\u003c/i> from inside the crocheted lattice, we see vibrant creative projects. Each one celebrates disability as existence that needs no correction or explanation. It simply needs to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Recoding CripTech’ is on view at SOMArts through Feb. 25. \u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A group show at SOMArts explores how old and new technologies can be harnessed in service of wider social visibility.","status":"publish","parent":0,"modified":1705021307,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":842},"headData":{"title":"Recoding CripTech Proudly Asserts Disability as an Identity and Culture | KQED","description":"A group show at SOMArts explores how old and new technologies can be harnessed in service of wider social visibility.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Recoding CripTech Proudly Asserts Disability as an Identity and Culture","datePublished":"2020-02-12T16:00:23.000Z","dateModified":"2024-01-12T01:01:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874625/recoding-criptech-somarts-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Recoding CripTech\u003c/em>\u003c/a>, a stand-out group exhibition on view at SOMArts through Feb. 25, reimagines what a body can be and do. Working with 11 artists and art collaboratives, curators Vanessa Chang and Lindsey D. Felt explore technology as a resource to be harnessed and hacked in service of ethical and wider social visibility for disability culture.\u003c/p>\n\u003cp>Among the themes that drive the exhibition, one is preeminent: disability is \u003ci>not\u003c/i> a pathological state in need of correction. Realized with old and new technologies alike, the objects and discrete installations comprising \u003ci>Recoding CripTech\u003c/i> do not demonstrate a desire to correct the range of challenges each maker lives with. Quite the opposite, in fact. These projects proudly assert disability as a cultural and political identity that demands recognition from non-disabled populations.\u003c/p>\n\u003cp>Language and its role in disability culture is addressed at the outset. “Crip” comes from the slur “cripple.” Like its cruel counterparts—“lame,” “deformed,” “crazy,” and the euphemistically condescending “differently-abled”—“cripple” denotes a cultural and linguistic power dynamic that marks difference as inferior or “other.” Much like “queer” was reappropriated by many in the LGBTQIA+ community, “crip” is used by many within disabled communities to indicate solidarity. From that contextual vantage point, the exhibition registers as a familial, collaborative effort.\u003c/p>\n\u003cfigure id=\"attachment_13874630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg\" alt=\"M Eifler AKA BlinkPopShift & Steve Sedlmayr\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995097_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">M Eifler (a.k.a. BlinkPopShift) and Steve Sedlmayr, ‘Prosthetic Memory,’ 2020. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer \u003ca href=\"https://www.toddedwardherman.com/when-i-stop-looking\" target=\"_blank\" rel=\"noopener noreferrer\">Todd Edward Herman\u003c/a> challenges us to think about looking. A meditative 15-minute video, Herman’s \u003cem>When I Stop Looking\u003c/em> (2013) exposes a discomfiting reality: the desire to indulge spectatorial impulses by staring at his subjects, all of whom live with significant facial and cranial conditions. Herman’s reverent, moving work challenges us to consider how the gaze is activated in visually-oriented environments such as museums. What do we derive from looking? What do we extract from those we look at?\u003c/p>\n\u003cp>\u003ci>Recoding CripTech\u003c/i> is replete with cutting-edge adaptive technology, including \u003ci>Prosthetic Memory\u003c/i>, one of two featured projects by M Eifler a.k.a. \u003ca href=\"http://www.blinkpopshift.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BlinkPopShift\u003c/a> and their collaborator Steve Sedlmayr. Set up to resemble the artist’s workspace, the installation includes custom-designed artificial intelligence (AI) that serves as a backup memory. Pages drawn from the artist’s daily written and video journaling practice, organized in a desktop binder, are read by custom software.\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 the visitor choses a page, the AI reads the content and projects an associated memory on the desk. Eifler created this project to accommodate long-term memory gaps caused by a childhood traumatic brain injury. But rather than emulate a \u003ca href=\"https://www.healthline.com/health/neurotypical\" target=\"_blank\" rel=\"noopener noreferrer\">neurotypical\u003c/a> person’s cognitive processes, the artist strives to capture their unique mental capacities. The installation conveys machine learning’s potential to help people with disabilities live by self-defined terms.\u003c/p>\n\u003cfigure id=\"attachment_13874631\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg\" alt=\"Chun-Shan (Sandie) Yi\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995032_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chun-Shan (Sandie) Yi, installation view of ‘Re-Fuse Skin Set,’ ‘Skinny,’ and ‘Dermis Footwear.’ \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though cutting-edge technology is evident throughout this exhibition, work by Chun-Shan (Sandie) Yi and Jillian Crochet hold space for manual practices such as sewing and knitting. Yi, a PhD candidate in disability studies at the University of Illinois-Chicago and founder of \u003ca href=\"https://www.cripcouture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Crip Couture\u003c/a>, makes clothes that draw on the lived experiences of disabled bodies, including memory and medical and surgical interventions.\u003c/p>\n\u003cp>Where conventional prosthetics and orthotics “normalize” bodily movement, Yi’s wares center on and accentuate what is distinctive about the individual and their physical profile and needs. \u003ci>Dermis Footwear\u003c/i> (2011), one of the five projects Yi contributed to the exhibition, includes cutouts in the latex boot specifically designed to accommodate scars on the wearer’s feet. Yi’s wearable art speaks to intimacy, accessibility, and the want to feel attractive or desirable on our own terms. Moreover, Yi’s fashion-focused practice sets up a dynamic contrast to haute couture, the terms of its production, its financial and social exclusivity, and how the bodies that wear such designs are perceived as “normal” or “abnormal.”\u003c/p>\n\u003cfigure id=\"attachment_13874794\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/recoding-criptech-exhibition-documentation_49451995737_o-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jillian Crochet, ‘My Beating Heart,’ 2014. \u003ccite>(Richard Lombiao for SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greeting visitors as they enter, \u003ci>My Beating Heart\u003c/i> (2014), \u003ca href=\"https://jilliancrochet.com/installation-works/my-beating-heart/\" target=\"_blank\" rel=\"noopener noreferrer\">Jillian Crochet\u003c/a>’s vivid red yarn and metal construction, easily holds space in SOMArts’ cavernous main gallery. Visitors are encouraged to step inside the delicate-yet-durable hanging sculpture. Within, they consider the human heart, necessary for life, and its universality.\u003c/p>\n\u003cp>Crochet’s work activates an array of notions, including domesticity, inherited knowledge, craft as women’s creative outlet and the heart as the metaphorical center of family and community. Looking out at \u003ci>Recoding CripTech\u003c/i> from inside the crocheted lattice, we see vibrant creative projects. Each one celebrates disability as existence that needs no correction or explanation. It simply needs to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Recoding CripTech’ is on view at SOMArts through Feb. 25. \u003ca href=\"https://www.somarts.org/events/recodingcriptech/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874625/recoding-criptech-somarts-review","authors":["77"],"categories":["arts_71","arts_70"],"tags":["arts_1118","arts_596","arts_769","arts_2207"],"featImg":"arts_13874796","label":"arts"},"arts_13873347":{"type":"posts","id":"arts_13873347","meta":{"index":"posts_1591205157","site":"arts","id":"13873347","score":null,"sort":[1579654285000]},"guestAuthors":[],"slug":"at-somarts-criptech-hacks-tech-to-dismantle-ableism","title":"At SOMArts, ‘CripTech’ Hacks Tech to Dismantle Ableism","publishDate":1579654285,"format":"standard","headTitle":"At SOMArts, ‘CripTech’ Hacks Tech to Dismantle Ableism | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Technology is embedded into my every day. It aids my wakefulness, it determines my commute, it defines the hours of my week. I’ve relinquished so many of my abilities to tech as it promises to alleviate more tasks from the mind and body. Which leads me to wonder: How does tech consider or exclude disabled bodies in the innovation process?\u003c/p>\n\u003cp>Over the past decade, the disabled community has reclaimed the term “crip” as a political and cultural identity. And in \u003cem>Recoding CripTech\u003c/em>, opening Jan. 23 at San Francisco’s SOMArts, artists explore questions around access as they hack and reinvent technologies. Through often multisensory artworks, they ask: What are the barriers to access in current technology and how can they be dismantled? How can diverse bodies move, look or communicate through more creative approaches to tech?\u003c/p>\n\u003cp>The show is a product of SOMArt’s residency program for emerging curators. “We’d like our audiences to reflect on and question for whom technologies and spaces are built, and to whom they deny access,” say curators Vanessa Chang and Lindsey D. Felt. “By engaging a variety of senses in their interactions with museum spaces and artworks, we hope for them to understand how certain bodies have been privileged over others.”\u003c/p>\n\u003cp>The opening (Jan. 23, 6–9pm) includes a discussion between the exhibition artists and a Q&A led by disability scholar and UC Berkeley professor Karen Nakamura featuring disability activist and \u003ca href=\"https://disabilityvisibilityproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Disability Visibility Project\u003c/a> creator and host, Alice Wong. And on Feb. 6, disability scholar and author \u003ca href=\"https://www.greenapplebooks.com/book/9780190604363\" target=\"_blank\" rel=\"noopener noreferrer\">Georgina Kleege\u003c/a> guides participants through the exhibition relying on tactile and other non-visual sensory experiences.\u003c/p>\n\u003cp>\u003ci>CripTech\u003c/i> calls on the tech industry to rethink their connection to the disabled community—instead of simply creating accommodations, the show advocates for putting disabled peoples at the forefront of innovation. \u003cem>–Vida Kuang\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Artists reinvent technologies to put disabled people at the forefront of innovation.","status":"publish","parent":0,"modified":1705021456,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":321},"headData":{"title":"At SOMArts, ‘CripTech’ Hacks Tech to Dismantle Ableism | KQED","description":"Artists reinvent technologies to put disabled people at the forefront of innovation.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SOMArts, ‘CripTech’ Hacks Tech to Dismantle Ableism","datePublished":"2020-01-22T00:51:25.000Z","dateModified":"2024-01-12T01:04:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"VIda Kuang","templateType":"event","featuredImageType":"standard","startTime":1579856400,"endTime":1582700400,"startTimeString":"Jan. 24–Feb. 25","venueName":"SOMArts","venueAddress":"934 Brannan St., San Francisco","eventLink":"https://www.somarts.org/events/recodingcriptech/","path":"/arts/13873347/at-somarts-criptech-hacks-tech-to-dismantle-ableism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Technology is embedded into my every day. It aids my wakefulness, it determines my commute, it defines the hours of my week. I’ve relinquished so many of my abilities to tech as it promises to alleviate more tasks from the mind and body. Which leads me to wonder: How does tech consider or exclude disabled bodies in the innovation process?\u003c/p>\n\u003cp>Over the past decade, the disabled community has reclaimed the term “crip” as a political and cultural identity. And in \u003cem>Recoding CripTech\u003c/em>, opening Jan. 23 at San Francisco’s SOMArts, artists explore questions around access as they hack and reinvent technologies. Through often multisensory artworks, they ask: What are the barriers to access in current technology and how can they be dismantled? How can diverse bodies move, look or communicate through more creative approaches to tech?\u003c/p>\n\u003cp>The show is a product of SOMArt’s residency program for emerging curators. “We’d like our audiences to reflect on and question for whom technologies and spaces are built, and to whom they deny access,” say curators Vanessa Chang and Lindsey D. Felt. “By engaging a variety of senses in their interactions with museum spaces and artworks, we hope for them to understand how certain bodies have been privileged over others.”\u003c/p>\n\u003cp>The opening (Jan. 23, 6–9pm) includes a discussion between the exhibition artists and a Q&A led by disability scholar and UC Berkeley professor Karen Nakamura featuring disability activist and \u003ca href=\"https://disabilityvisibilityproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Disability Visibility Project\u003c/a> creator and host, Alice Wong. And on Feb. 6, disability scholar and author \u003ca href=\"https://www.greenapplebooks.com/book/9780190604363\" target=\"_blank\" rel=\"noopener noreferrer\">Georgina Kleege\u003c/a> guides participants through the exhibition relying on tactile and other non-visual sensory experiences.\u003c/p>\n\u003cp>\u003ci>CripTech\u003c/i> calls on the tech industry to rethink their connection to the disabled community—instead of simply creating accommodations, the show advocates for putting disabled peoples at the forefront of innovation. \u003cem>–Vida Kuang\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873347/at-somarts-criptech-hacks-tech-to-dismantle-ableism","authors":["byline_arts_13873347"],"programs":["arts_140"],"categories":["arts_71"],"tags":["arts_9693","arts_596","arts_2207"],"featImg":"arts_13873374","label":"arts_140"},"arts_13846740":{"type":"posts","id":"arts_13846740","meta":{"index":"posts_1591205157","site":"arts","id":"13846740","score":null,"sort":[1544655626000]},"guestAuthors":[],"slug":"through-subversion-and-joyful-skewering-artists-reorient-stereotypes","title":"Through Subversion and Joyful Skewering, Artists ‘Reorient’ Stereotypes","publishDate":1544655626,"format":"standard","headTitle":"Through Subversion and Joyful Skewering, Artists ‘Reorient’ Stereotypes | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>How do stereotypes form? Researchers at the University of Aberdeen suggest in a 2014 \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0956797614541129\" target=\"_blank\" rel=\"noopener\">paper\u003c/a> that stereotypes are the result of how we process and share information. Unpacking the article for \u003cem>Pacific Standard\u003c/em>, writer Tom Jacobs \u003ca href=\"https://psmag.com/social-justice/knowledge-process-information-scotland-stereotypes-take-shape-86697\" target=\"_blank\" rel=\"noopener\">summarizes\u003c/a> the findings as our need to categorize information in order to navigate an uncertain world. \u003c/p>\n\u003cp>All too often, nuance and specificity are lost to quick categorization, replaced by extreme generalizations about entire groups of people. As that imperfect information is shared socially, individual beliefs become wide-scale cultural biases deployed against populations that do not fit the social “norm,” (i.e. white, male, straight and gender conforming).\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.somarts.org/events/reorientingexhibition/\" rel=\"noopener\" target=\"_blank\">Reorienting the Imaginaries\u003c/a>\u003c/em>, the first exhibition in SOMArts’ 2018-19 Curatorial Residency calendar, marshals work by 14 artists who reckon with cultural stereotypes. These artists, organized by curators Robin Birdd, Anh Bui, Shirin Makaremi, Renae Moua and Lena Sok, are driven to understand stereotypes’ harmful influence on self-perception, and in doing so, respectfully demand that audiences acknowledge their role in perpetuating that harm.\u003c/p>\n\u003cp>The show presents both “old” and “new” media as vehicles for unpacking stereotype. In this context, “old” media is found in the craft work of artists \u003ca href=\"https://www.christophermartin.info/\" target=\"_blank\" rel=\"noopener\">Christopher Martin\u003c/a> and \u003ca href=\"http://www.shirintowfiq.com/resist-stitch/\" target=\"_blank\" rel=\"noopener\">Shirin Towfiq\u003c/a>. Both artists work with cotton, a ubiquitous material that bears fond and innocent associations for many, but whose history and revolutionary potential are often underestimated.\u003c/p>\n\u003cfigure id=\"attachment_13846957\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200.jpg\" alt=\"Christopher Martin, 'American Flag,' 2018.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13846957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Martin, ‘American Flag,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lofted high above the gallery floor, two of Martin’s three banners—\u003cem>American Flag\u003c/em> and \u003cem>Confederate Flag\u003c/em>—subvert two familiar and violently contested symbols. In place of colorful stripes, Martin substitutes lengths of rope, an unmistakable reference to the material used to lynch thousands of Black Americans. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The third banner, \u003cem>Blood Cotton\u003c/em>, conveys in no uncertain terms the mortal wage paid by enslaved Africans who were transported to the United States to pick and process the powerhouse commodity on Southern plantations. Across his multidisciplinary practice, Martin deconstructs recognizable graphic symbols through the lens of personal experience, striving to understand how patriotism, consumerism and racism combine to influence one’s identity.\u003c/p>\n\u003cp>Currently pursuing an MFA at Stanford University, \u003cem>Resist Stitch\u003c/em> founder Shirin Towfiq invites participants to modify T-shirts by attaching banners at the seams. When worn, the constructions form a sartorial human chain that is not easy to break (especially effective when worn during protests). At SOMArts, Towfiq’s tees gracefully span the floor-to-ceiling distance, collectively demanding for accountability from those who work to criminalize difference. \u003c/p>\n\u003cfigure id=\"attachment_13846959\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ResistStitch_1200.jpg\" alt=\"Shirin Towfiq, Detail of installation of 'Resist Stitch,' 2018.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13846959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shirin Towfiq, Detail of installation of ‘Resist Stitch,’ 2018. \u003ccite>(Photo by Aneesah Dryver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin and Towfiq’s projects confidently take their place in the long history of crafting as a \u003ca href=\"https://theestablishment.co/crafts-long-history-in-radical-protest-movements-8300f59a3e54/\" target=\"_blank\" rel=\"noopener\">revolutionary act\u003c/a>. Whether displayed as a flag, or a modified T-shirt, quilts of remembrance or crocheted pink hats, craft works cast an unforgiving light on stereotypes, and broadcast the cleverly subversive ways we can work to defeat them.\u003c/p>\n\u003cp>At the other end of the media spectrum, \u003ca href=\"https://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener\">Sofía Córdova\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener\">Anum Awan\u003c/a>, and \u003ca href=\"http://ninarr.com/untitled-film-scenes-cindy-sherman-tribute/\" target=\"_blank\" rel=\"noopener\">Nina Reyes Rosenberg\u003c/a> joyfully skewer Western assumptions about religion and cultural performativity through contemporary media formats—digital design and film. \u003c/p>\n\u003cp>\u003cem>La vedette de america (Tu boquita with contrapposto)\u003c/em> features the Puerto Rican-born Córdova lip-syncing Iris Chacón’s song “Tu boquita” and dancing in an eight-minute loop. Over time, the audio quality degrades along with the artist’s stamina, demonstrating the grinding exhaustion of performing one’s identity according to Western demands.\u003c/p>\n\u003cp>A digital interaction designer by day, Awan’s \u003cem>Digital Sufi Shrine\u003c/em> presents scenes of \u003ca href=\"http://www.dostpakistan.pk/dhamaal/\" target=\"_blank\" rel=\"noopener\">dhamaal\u003c/a>, an ecstatic ritualized dance performed primarily by male devotees in Pakistani Sufi shrines. This immersive audio-visual experience and the looped scenes of dancers may be unfamiliar to Bay Area audiences, but it’s not difficult to recognize the universal satisfaction of movement driven by pounding drum beats. The blissful smiles that stretch across the sweaty faces of exhausted participants register and celebrate a space of personal and mystical peace.\u003c/p>\n\u003cfigure id=\"attachment_13846966\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200.jpg\" alt=\"Installation view of Anum Awan's 'Digital Sufi Shrine,' 2017-2018.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13846966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Anum Awan’s ‘Digital Sufi Shrine,’ 2017-2018. \u003ccite>(Photo by Aneesah Dryver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Awan’s installation also honors unheralded Pakistani women such as \u003ca href=\"http://www.dostpakistan.pk/dhamaal/\" target=\"_blank\" rel=\"noopener\">Asma Jahangir\u003c/a> for their quietly revolutionary acts. The candle-lit altar includes framed photographs and QR codes that visitors are encouraged to access for further information about each honoree. Though a subtle step toward acknowledgement in a male dominated culture, Awan operates confidently in the virtual realm to contradict the sexism and misogyny attributed to Islam.\u003c/p>\n\u003cp>New York-based filmmaker Nina Reyes Rosenberg updates photographer Cindy Sherman’s singular \u003ca href=\"https://www.moma.org/learn/moma_learning/cindy-sherman-untitled-film-stills-1977-80/\" target=\"_blank\" rel=\"noopener\">\u003ci>Untitled Film Stills\u003c/i>\u003c/a> by addressing the lazy, uncritical cinematic tropes applied to women. Reyes Rosenberg’s \u003ca href=\"http://ninarr.com/untitled-film-scenes-cindy-sherman-tribute/\" target=\"_blank\" rel=\"noopener\">\u003ci>Untitled Film Scenes\u003c/i>\u003c/a> features actress Maya Erskine in scenarios drawn from Sherman’s 40-year-old series—the unstable femme fatale, the sexy librarian, the bored housewife—and brings those images into dialogue with the ugly stereotypes used to marginalize Asian women. \u003c/p>\n\u003cp>Lip-syncing “Love is a One-Way Street” throughout, Erskine is filmed in one scene wearing a geisha’s kimono and makeup. The guise is often deployed as a catchall representation Asian women, suggesting subservience and an eager need to please. Rosenberg’s short film points to how Asian women are fetishized for their beauty and unthreatening femininity, a stereotype created to perfectly complement Western masculinity.\u003c/p>\n\u003cfigure id=\"attachment_13846963\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200.jpg\" alt=\"Opening reception visitors in front of Scott Ortega-Nanos' 'Pasyon: a Heuristic Pedagogy,' 2018.\" width=\"1200\" height=\"821\" class=\"size-full wp-image-13846963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-1020x698.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Opening reception visitors in front of Scott Ortega-Nanos’ ‘Pasyon: a Heuristic Pedagogy,’ 2018. \u003ccite>(Photo by Aneesah Dryver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Reorienting the Imaginaries\u003c/em> rounds out with photography, video, painting, sculpture and site-specific installations, including Scott Ortega-Nanos’ \u003cem>Pasyon: a Heuristic Pedagogy\u003c/em>. Facing this altar-fronted tower of political and spiritual books, audiences are invited to read the titles and unlock the cognitive and physical padlocks that delimit our understanding of the myriad issues raised in the exhibition. \u003c/p>\n\u003cp>While all comers are welcome, Ortega-Nanos’ project may best serve those of us who identify as allies. It is on us to do the work, to reorient our understanding of what marginalized populations face, rather than expecting them to teach us. Only then will we pass from the imaginary into reality.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Reorienting the Imaginaries’ is on view at SOMArts Cultural Center through Jan. 24, 2019. \u003ca href=\"http://www.somarts.org/events/reorientingexhibition/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"At SOMArts, artists reckon with stereotypes, nudging allies to better understand what marginalized populations face on a daily basis.","status":"publish","parent":0,"modified":1705026865,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1079},"headData":{"title":"Through Subversion and Joyful Skewering, Artists ‘Reorient’ Stereotypes | KQED","description":"At SOMArts, artists reckon with stereotypes, nudging allies to better understand what marginalized populations face on a daily basis.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Through Subversion and Joyful Skewering, Artists ‘Reorient’ Stereotypes","datePublished":"2018-12-12T23:00:26.000Z","dateModified":"2024-01-12T02:34:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846740/through-subversion-and-joyful-skewering-artists-reorient-stereotypes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do stereotypes form? Researchers at the University of Aberdeen suggest in a 2014 \u003ca href=\"https://journals.sagepub.com/doi/abs/10.1177/0956797614541129\" target=\"_blank\" rel=\"noopener\">paper\u003c/a> that stereotypes are the result of how we process and share information. Unpacking the article for \u003cem>Pacific Standard\u003c/em>, writer Tom Jacobs \u003ca href=\"https://psmag.com/social-justice/knowledge-process-information-scotland-stereotypes-take-shape-86697\" target=\"_blank\" rel=\"noopener\">summarizes\u003c/a> the findings as our need to categorize information in order to navigate an uncertain world. \u003c/p>\n\u003cp>All too often, nuance and specificity are lost to quick categorization, replaced by extreme generalizations about entire groups of people. As that imperfect information is shared socially, individual beliefs become wide-scale cultural biases deployed against populations that do not fit the social “norm,” (i.e. white, male, straight and gender conforming).\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.somarts.org/events/reorientingexhibition/\" rel=\"noopener\" target=\"_blank\">Reorienting the Imaginaries\u003c/a>\u003c/em>, the first exhibition in SOMArts’ 2018-19 Curatorial Residency calendar, marshals work by 14 artists who reckon with cultural stereotypes. These artists, organized by curators Robin Birdd, Anh Bui, Shirin Makaremi, Renae Moua and Lena Sok, are driven to understand stereotypes’ harmful influence on self-perception, and in doing so, respectfully demand that audiences acknowledge their role in perpetuating that harm.\u003c/p>\n\u003cp>The show presents both “old” and “new” media as vehicles for unpacking stereotype. In this context, “old” media is found in the craft work of artists \u003ca href=\"https://www.christophermartin.info/\" target=\"_blank\" rel=\"noopener\">Christopher Martin\u003c/a> and \u003ca href=\"http://www.shirintowfiq.com/resist-stitch/\" target=\"_blank\" rel=\"noopener\">Shirin Towfiq\u003c/a>. Both artists work with cotton, a ubiquitous material that bears fond and innocent associations for many, but whose history and revolutionary potential are often underestimated.\u003c/p>\n\u003cfigure id=\"attachment_13846957\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200.jpg\" alt=\"Christopher Martin, 'American Flag,' 2018.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13846957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/AMERICAN-FLAG_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Martin, ‘American Flag,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lofted high above the gallery floor, two of Martin’s three banners—\u003cem>American Flag\u003c/em> and \u003cem>Confederate Flag\u003c/em>—subvert two familiar and violently contested symbols. In place of colorful stripes, Martin substitutes lengths of rope, an unmistakable reference to the material used to lynch thousands of Black Americans. \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 third banner, \u003cem>Blood Cotton\u003c/em>, conveys in no uncertain terms the mortal wage paid by enslaved Africans who were transported to the United States to pick and process the powerhouse commodity on Southern plantations. Across his multidisciplinary practice, Martin deconstructs recognizable graphic symbols through the lens of personal experience, striving to understand how patriotism, consumerism and racism combine to influence one’s identity.\u003c/p>\n\u003cp>Currently pursuing an MFA at Stanford University, \u003cem>Resist Stitch\u003c/em> founder Shirin Towfiq invites participants to modify T-shirts by attaching banners at the seams. When worn, the constructions form a sartorial human chain that is not easy to break (especially effective when worn during protests). At SOMArts, Towfiq’s tees gracefully span the floor-to-ceiling distance, collectively demanding for accountability from those who work to criminalize difference. \u003c/p>\n\u003cfigure id=\"attachment_13846959\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ResistStitch_1200.jpg\" alt=\"Shirin Towfiq, Detail of installation of 'Resist Stitch,' 2018.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13846959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ResistStitch_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Shirin Towfiq, Detail of installation of ‘Resist Stitch,’ 2018. \u003ccite>(Photo by Aneesah Dryver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin and Towfiq’s projects confidently take their place in the long history of crafting as a \u003ca href=\"https://theestablishment.co/crafts-long-history-in-radical-protest-movements-8300f59a3e54/\" target=\"_blank\" rel=\"noopener\">revolutionary act\u003c/a>. Whether displayed as a flag, or a modified T-shirt, quilts of remembrance or crocheted pink hats, craft works cast an unforgiving light on stereotypes, and broadcast the cleverly subversive ways we can work to defeat them.\u003c/p>\n\u003cp>At the other end of the media spectrum, \u003ca href=\"https://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener\">Sofía Córdova\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener\">Anum Awan\u003c/a>, and \u003ca href=\"http://ninarr.com/untitled-film-scenes-cindy-sherman-tribute/\" target=\"_blank\" rel=\"noopener\">Nina Reyes Rosenberg\u003c/a> joyfully skewer Western assumptions about religion and cultural performativity through contemporary media formats—digital design and film. \u003c/p>\n\u003cp>\u003cem>La vedette de america (Tu boquita with contrapposto)\u003c/em> features the Puerto Rican-born Córdova lip-syncing Iris Chacón’s song “Tu boquita” and dancing in an eight-minute loop. Over time, the audio quality degrades along with the artist’s stamina, demonstrating the grinding exhaustion of performing one’s identity according to Western demands.\u003c/p>\n\u003cp>A digital interaction designer by day, Awan’s \u003cem>Digital Sufi Shrine\u003c/em> presents scenes of \u003ca href=\"http://www.dostpakistan.pk/dhamaal/\" target=\"_blank\" rel=\"noopener\">dhamaal\u003c/a>, an ecstatic ritualized dance performed primarily by male devotees in Pakistani Sufi shrines. This immersive audio-visual experience and the looped scenes of dancers may be unfamiliar to Bay Area audiences, but it’s not difficult to recognize the universal satisfaction of movement driven by pounding drum beats. The blissful smiles that stretch across the sweaty faces of exhausted participants register and celebrate a space of personal and mystical peace.\u003c/p>\n\u003cfigure id=\"attachment_13846966\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200.jpg\" alt=\"Installation view of Anum Awan's 'Digital Sufi Shrine,' 2017-2018.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13846966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/DigitalSufiShrine_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Anum Awan’s ‘Digital Sufi Shrine,’ 2017-2018. \u003ccite>(Photo by Aneesah Dryver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Awan’s installation also honors unheralded Pakistani women such as \u003ca href=\"http://www.dostpakistan.pk/dhamaal/\" target=\"_blank\" rel=\"noopener\">Asma Jahangir\u003c/a> for their quietly revolutionary acts. The candle-lit altar includes framed photographs and QR codes that visitors are encouraged to access for further information about each honoree. Though a subtle step toward acknowledgement in a male dominated culture, Awan operates confidently in the virtual realm to contradict the sexism and misogyny attributed to Islam.\u003c/p>\n\u003cp>New York-based filmmaker Nina Reyes Rosenberg updates photographer Cindy Sherman’s singular \u003ca href=\"https://www.moma.org/learn/moma_learning/cindy-sherman-untitled-film-stills-1977-80/\" target=\"_blank\" rel=\"noopener\">\u003ci>Untitled Film Stills\u003c/i>\u003c/a> by addressing the lazy, uncritical cinematic tropes applied to women. Reyes Rosenberg’s \u003ca href=\"http://ninarr.com/untitled-film-scenes-cindy-sherman-tribute/\" target=\"_blank\" rel=\"noopener\">\u003ci>Untitled Film Scenes\u003c/i>\u003c/a> features actress Maya Erskine in scenarios drawn from Sherman’s 40-year-old series—the unstable femme fatale, the sexy librarian, the bored housewife—and brings those images into dialogue with the ugly stereotypes used to marginalize Asian women. \u003c/p>\n\u003cp>Lip-syncing “Love is a One-Way Street” throughout, Erskine is filmed in one scene wearing a geisha’s kimono and makeup. The guise is often deployed as a catchall representation Asian women, suggesting subservience and an eager need to please. Rosenberg’s short film points to how Asian women are fetishized for their beauty and unthreatening femininity, a stereotype created to perfectly complement Western masculinity.\u003c/p>\n\u003cfigure id=\"attachment_13846963\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200.jpg\" alt=\"Opening reception visitors in front of Scott Ortega-Nanos' 'Pasyon: a Heuristic Pedagogy,' 2018.\" width=\"1200\" height=\"821\" class=\"size-full wp-image-13846963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/OrtegaNanos_1200-1020x698.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Opening reception visitors in front of Scott Ortega-Nanos’ ‘Pasyon: a Heuristic Pedagogy,’ 2018. \u003ccite>(Photo by Aneesah Dryver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Reorienting the Imaginaries\u003c/em> rounds out with photography, video, painting, sculpture and site-specific installations, including Scott Ortega-Nanos’ \u003cem>Pasyon: a Heuristic Pedagogy\u003c/em>. Facing this altar-fronted tower of political and spiritual books, audiences are invited to read the titles and unlock the cognitive and physical padlocks that delimit our understanding of the myriad issues raised in the exhibition. \u003c/p>\n\u003cp>While all comers are welcome, Ortega-Nanos’ project may best serve those of us who identify as allies. It is on us to do the work, to reorient our understanding of what marginalized populations face, rather than expecting them to teach us. Only then will we pass from the imaginary into reality.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Reorienting the Imaginaries’ is on view at SOMArts Cultural Center through Jan. 24, 2019. \u003ca href=\"http://www.somarts.org/events/reorientingexhibition/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846740/through-subversion-and-joyful-skewering-artists-reorient-stereotypes","authors":["77"],"categories":["arts_70"],"tags":["arts_1118","arts_596","arts_769","arts_2207"],"featImg":"arts_13847000","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. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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