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  • In New York City, large throngs of people celebrated as the parade went down Fifth Avenue to downtown. Many of them also demonstrated against President Trump's policies targeting transgender people.
  • Spend an unforgettable time inside our gallery during this guided painting activity while finding inspiration from the world-class artwork on display. Supplies and instruction are included. Leave the clean-up to us and take home your finished 8" x 10" at the end. Parking validation included. Visit: https://www.artscenewest.com/paintingparty Art Scene West on Instagram and Facebook
  • Rooted in African-American freedom struggles and Igbo cosmology, The Skeuomorph unfolds as a poetic meditation on technological agency and the myths we encode in our machines. At the center of the exhibition stands BLKBX (BB)—a sculptural object, a "smarter" speaker and a speculative AI entity trained on documents of African American and African Diasporic histories, biographies and philosophies of freedom. Through a multisensory installation featuring reimagined political speeches, archival fragments, and layered sonic environments, the exhibition invites visitors to consider how history reverberates in the present—shaping the voices we amplify, the ones we silence, and the futures we imagine. Co-sponsored by the Department of Visual Arts Visiting Speaker Series, this event includes panel discussion with Louis Chude-Sokei, Professor and George and Joyce Wein Chair of English and Director of the African American and Black Diaspora Studies Program at Boston University; in addition to recently publishing The Sound of Culture: Diaspora and Black Technopoetics (2015), Chude-Sokei collaborated with Berlin based electronic artists Mouse on Mars, with whom he produced the album Anarchic Artificial Intelligence (2021). Event moderated by Amy Alexander, Professor of Visual Arts and Gallery QI committee co-chair and Robert Twomey, Assistant Teaching Professor of Visual Arts and Committee Member of the Department of Visual Arts Visiting Speaker Series. Chude-Sokei and Mendi Obadike will participate via Zoom. Gallery QI on Facebook / Instagram
  • Labor unions are trying once again to regulate self-checkout lanes at California stores. This year’s bill waters down a version that died last session, but businesses still warn it will increase costs and lead to consumer frustration.
  • Proposed ballot initiative aims to repeal Prop. 103, the California law that regulates home and auto insurance.
  • Proponents of remote work for California state employees are celebrating a new state audit that finds having employees work from home could save the state hundreds of millions of dollars in real estate and facilities costs.
  • The KPBS San Diego Book Festival has announced its schedule of activities for youth and families. Along with a dedicated youth activity area, there will be performances, story times and photo opportunities with PBS Kids characters. The festival is taking place on Saturday, August 23, 2025, 10am - 4pm, on the University of San Diego campus.
  • La Guardia Nacional de EE.UU. ensayó varias veces un operativo en un parque de Los Ángeles como demostración de fuerza contra personas sin documentos y manifestantes contra las políticas migratorias, declaró el martes un general de división adjunto.Ask ChatGPT
  • Philip Miller's sinister thriller is set in a Great Britain that's lost its bearings. But even when she's terrified, fictional journalist Shona Sandison will always risk everything to get the story.
  • Nocturnal scenes of San Diego’s ubiquitous taco stands and a massive shipyard are the subjects of “Night Light,” an exhibit at The Photographer’s Eye Gallery that will feature fine art images by Philipp Scholz Rittermann and Marshall Williams. This free show will open May 10 and run through June 7. Rittermann and Williams are both accomplished San Diego artists, commercial photographers and teachers whose works have been shown at prominent venues locally, nationally and internationally. When Philipp Scholz Rittermann stepped into the metal shell that was to become the hull of the Exxon Valdez, he could not envision that he was documenting the first chapter of a future catastrophe. The year was 1985, and four years later the oil tanker would run aground in Prince William Sound, Alaska, bleeding its cargo of crude oil into the sea and etching the ship’s name into the log of notorious environmental disasters. Rittermann was a young man, recently arrived in the United States, when he landed an internship at the San Diego Museum of Photographic Arts, which led to his securing a pass to do night photography at the National Steel and Shipbuilding Co. (NASSCO) shipyard on San Diego Bay. The result is his collection, “Shipyard Nocturnes,” which will be shown at the nonprofit Photographer’s Eye Gallery. One of the featured images in the exhibit is Rittermann’s large black and white print shot inside the Exxon Valdez as it was being built. The work is remarkable for both its artistic appeal and what it came to signify. “I was standing inside one of the enormous holds and looking into this cavernous space that was the size of a cathedral on the inside, and an engineer walked by and I said, ‘So where are you putting the oil tanks?’ And he said, ‘You're looking at it.’ And I said, ‘Do you mean they go here?’ And he goes, ‘No, you're looking at it.’ “And I said, ‘Oh … this is the tank?’ And he goes, ‘Uh-huh,’ and walks away,” Rittermann said. “I thought, geez, what happens when you put a zipper in this?” Rittermann recalled, “and then four years later, that's exactly what happened.” Rittermann’s images stand as tributes both to industrial might and technology, and to the human fallibility that enabled such a disaster. “While the images haven’t changed since I made them,” Rittermann said, “the way I feel about them has.” Marshall Williams was inspired to create images of San Diego’s taco stands when he found himself waiting for a traffic light to turn green, and a neighborhood fixture caught his eye. “I was staring at the taco stand across the street when it illuminated and in that moment I was a bit startled by the transformation,” Williams said. “I saw this structure in a way I hadn't seen it before." “I came back to photograph it at the same time of the evening and from that point on I began to notice the different taco stands around town all shared many of the same elements, but no two seem to be the same,” he said. The result is “Taco Stand Vernacular,” a collection of images that captures the folk nature of one of San Diego’s most common fixtures — one so common that it is easily overlooked. Williams photographs them as day yields to night, and he produces his images in black and white. “As a photographer, we love that transitional moment between day and night when there is a balance and ‘best of both worlds’ from a lighting perspective,” he said. In daylight, these small structures are swallowed by their surroundings, he noted, “but in the early evening they are cloaked in a subdued ambiance and emitting their own light, exuding a sort of theatrical like presence.” “This has been an exercise in taking the commonplace and attempting to elevate it to an object of appreciation,” Williams said. “If taking the time to observe the details of a taco stand can change our view of it, what other details have we missed or left unappreciated in the hustle of our busy lives?” “Night Light” opens on May 10 and closes June 7. The gallery is open Fridays and Saturdays, from 11 a.m. to 5 p.m., and by appointment. There will be an artists’ walk-through on opening day at 4 p.m., followed by a reception at 5 p.m. Artists Rittermann and Williams will conduct a night photography walkabout on May 15. Consult The Photographer’s Eye website for details. Visit: https://www.thephotographerseyecollective.com/ and https://www.marshallwilliamsphotographs.com/taco-stand-vernacular The Photographer's Eye: A Creative Collective on Instagram
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