'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History
Inside Frida Kahlo and Diego Rivera's Life in San Francisco
'Housing Black': Tenderloin Mural Spotlights Black San Francisco's Housing Crisis
What's Next for Black Lives Matter Murals in Downtown San Jose?
Oakland Muralists Honor Victims of Police Violence – Even as Police Take Their Paint
Climate Change Lawsuits, Controversial Mural, Assemblymember Phil Ting
A Change of Heart for History
S.F. School Board Votes to Cover Controversial Mural Instead of Painting Over It
Sponsored
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src=\"https://playlist.megaphone.fm/?e=KQINC6480280563\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to the Bay. Happy Valentine’s Day, everyone. San Francisco gets a lot of hate, but you don’t get to hate it unless you love it. And one person I know who loves San Francisco is my colleague, Carlos Cabrera-Lomelí, who proudly reps the Mission District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was just such a place where they were characters everywhere. It was definitely a feeling of like, everyone could do what they want or just be themselves.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Carlos has seen the neighborhood through a lot of changes over the years. Stores closing, childhood friends priced out and beloved murals getting painted over. This Valentine’s Day, Carlos shares with us a story of one mural he loved dearly and what it meant to lose it. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I’m Carlos Cabrera-Lomelí, and I’m the community engagement reporter with KQED. So my family first arrived in the Bay area when I was seven. We moved to Oakland. Back then it was myself, my mom, and at the time my stepdad. During that time, my little brother was born. We’re eight years apart. A few months later, when we moved to Hayward and and Hayward, things took a turn for the worst.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My stepdad. He did things that made my mom and myself unsafe emotionally and physically hurting us. And it got to a point where my mom decided to leave and come to San Francisco, because here there are several really, really amazing, incredibly helpful and generous shelters for moms and their kids. The reason we moved to San Francisco wasn’t a very happy one.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was a very painful one, but it was also the start of a really, really amazing relationship with a place that welcomed us with a lot of people who worked really hard to make sure that we were safe and that we have what we needed. We first moved to Hays Valley, and that’s where we were for over a year and a shelter. And when I was ten, we made it to the mission where I still call home. At that time I was starting middle school.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My middle school was in the Fillmore in the Western addition. It was a KIPP school, which for folks unfamiliar, that’s a charter school system, a very, very like disciplined charter school system. We had to be in school from 730 to 5. But as soon as it was five, the way that we would, like, run out like rats out of the school building to just hang out to like, run around for the kids who lived in the mission, you know, we’d get on the 22 and then eventually, you know, the 14, the 49 there.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>They’re these huge busses, these long, super long busses, and they’re like kind of like two busses, like connected. And the back, the windows were a thing where all you had to do was push them and they would open up, and there were these huge windows and we would always be parting. None of us had like real speakers, but we all had like, radios. We like blasting like radio music and then like doing other stuff that you weren’t supposed to do in our bus.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>And then as soon as, like, you know, the driver would get mad at us. We’d all, like, jump out from those windows. Seeing friends, you know, like, hold onto the back of the bus because they were on their skateboards and they would just, like, grab on the back of the bus, and the bus would just, you know, like, ferry them through the mission.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There are definitely things that maybe things my friends and I were doing pretty early on that we shouldn’t have been doing. But it’s always been a very active, super colorful, super noisy, super loud part of the city, which I love. I was born and raised in Mexico City. Also, I’m very loud and very colorful and just very chaotic city. I knew I wanted to be back where there was just kids playing in the street, busses moving all the time, cars, music, am.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Mission Street has always been that. I was ten years old when I first saw Al Fuego or Cease Fire by Juan Alisha on the corner of Mission Street and 21st Street. It’s immediately. What stood out to me was that it was the face like a kid. And this kid, he was standing on this beautiful, beautiful field. And there’s mountains and it looks so humid and green and just lush. But in front of him, there’s many, many machine guns pointing at him.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But what’s separating him from the machine? Guns are two hands, huge hands. And you can’t see whose hands they are. They just appear in front of the kid. The kid is looking at you, and it’s very much like a mona Lisa effect, where no matter where you are on the intersection, it felt like he was looking at you. You know, they weren’t angry, they weren’t happy, they weren’t sad, but they were just eyes full of a very strong emotion.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>That immediately struck me. You know the element like, why are guns pointing at this kid? Who is he and who are those hands? Now, the mural was showing a moment where, like, a kid was in danger. But this force, these hands came and defended him. I’ve always been very protective of my mom. We were very close. At that time, I brother was only one when we left the situation with my stepdad. I made a promise that I would always protect them.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> Seeing a visual representation of hands coming to protect someone vulnerable, it’s showing me that it is possible and that I’m also in a place that believes in it, that strongly believes in it. You know, again, this wasn’t in a random alley. It was in the heart of this neighborhood. Tens of thousands of people must have walked past it every single day. Juan Alicia painted ceasefire in 1988.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There was a lot of armed conflicts throughout the region of Central America and in Honduras. There was a very active American intervention, and the mural was actually set in the fields of Honduras. Many of the folks left and came to San Francisco. You’ve had families coming from Central America for 40, 50 years. Many other parts of the US are seeing folks come from Central America, and it’s like the first wave.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But San Francisco is a place where you see, you know, two, three, four generations of Central American families here. And one Alysia in 1988 decides to paint a mural. Calling for a cease fire and a protection of civilians in Honduras. And that’s what we see. We see a young boy who represents the vulnerable civilian population of Honduras.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Being protected, being shielded away from a lot of the violence, a lot of the guns, a lot of the armaments that were being brought in thanks to American imperialism, American foreign policy objectives. You know, as I became, I feel like more and more San Franciscan, I learned that that is history of folks coming from Central America to create a sanctuary, a safe space for their homes, for their families here in the city. It really connected? With what?\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>The reason that my family had come San Francisco. I first found out that the mural was the face through my mom. I’m out comes and I’m in high school. And she says, you can’t believe what happened to Juan Alice’s mural. And the next day I go check it out. And sure enough, someone had scribbled, I think, something like toy across it. A couple days later, more tagging happens on it and there was no explanation.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It wasn’t necessarily something like frustrating, but really just like a why why someone would do this to something so beautiful and important. As I understand Juan Alisha raised funds to try to rehabilitate the mural, but at the end of the day, then it happened. And then years later, the property owners commissioned another mural on top of it. And it’s the painting of a horse. The horses isn’t like doing anything or jumping over a fence or anything.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It’s just the horse, and it’s like standing on a beach or empty field and that’s about it. I really do think that it doesn’t have the same context and the same message. And I’ve definitely been in many conversations with people that are like, why is there a horse there and what? But years later, the horse is still there. So I guess it’s part of us now too.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>One of my favorite things to do when I go running throughout the mission is because I have a list of favorite murals I like to see, and there are some murals are no longer exist, but I think that that is the one that I it’s the most. Years later, I actually got to see a version of the mural one more time. And this was at an exhibition organized by the San Francisco Arts Commission. They included one of the original sketches that Juan Alicia had made of the mural, and it wasn’t huge.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was like maybe three feet by four feet and there wasn’t any color. But you know the boy. He looked at you with the same intensity. The landscape was still as beautiful as it was when I first looked at it. I couldn’t believe it. I couldn’t believe that I was seeing it after such a long time. I never thought I was going to see them like a version of that mural again.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>So much had happened since I had last seen it. I went to college, I graduated. I became a journalist. I learned so many things about myself and seeing it again. It was like coming back into contact with that younger version of me, and I realized, whoa, it doesn’t necessarily have the same grounding effect as it did before, but I think that’s okay. You know, so much has changed for the better.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My family, you know, we’ve obviously become a lot more stable. And we’ve been we’ve been able to grow. You know, my mom has been able to continue her career. My brother’s about to go to college. I. You know, I’ve been able to find a career I love. When we first came into this city, you know, we had so little and just so many, just the worries and anxieties and then seeing it again on the other side.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I really appreciate that opportunity. When I think about this mural now. One of the things. That stands out is how San Francisco, this little place, specifically the mission, this little neighborhood, its place in the history of so many. Movements. So much organizing is just really, really cool. It just it shows you that this is in like the DNA of the community, of the neighborhood, of the Bay.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> I think it’s really cool when art, when public art can teach it again, because I came in as I’ve had no idea about any of this history, that I was like standing on sacred ground, pretty much. S.F. and the Bay. There’s always going to be tough spots and periods of transformation. But we have to have love for this version of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I feel like San Francisco had faith in me and my family when we first came in. Right? And I’m not someone who, you know, drops a ball or leaves the court when things are getting a little, a little tougher. Things are not going to get better if the people that love it stop loving it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Carlos Cabrera-Lomelí, a community engagement reporter for KQED. This 40 minute conversation with Carlos was pitched, cut down, and edited by producer Maria Esquinca, with additional production and editing support from senior editor Alan Montecillo and me, who scored this episode. Our intern is Ellie Prickett-Morgan. Music courtesy of First Come Music Audio Network and blew down sessions. And I’m Ericka Cruz Guevarra. Thanks for listening. And from all of us here at the Bay. Happy Valentine’s Day.\u003c/p>\n\n","blocks":[],"excerpt":"In a special Valentine's Day episode, KQED's Carlos Cabrera-Lomeli talks about a particular mural that he loves and remembers dearly.","status":"publish","parent":0,"modified":1709248809,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":2365},"headData":{"title":"Loving and Losing a Mural in the Mission | KQED","description":"In a special Valentine's Day episode, KQED's Carlos Cabrera-Lomeli talks about a particular mural that he loves and remembers dearly.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Loving and Losing a Mural in the Mission","datePublished":"2024-02-14T11:00:20.000Z","dateModified":"2024-02-29T23:20:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC6480280563.mp3?updated=1707866834","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11975756/loving-and-losing-a-mural-in-the-mission","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This Valentine’s Day, KQED community engagement reporter Carlos Cabrera-Lomeli joins us to talk about growing up in San Francisco’s Mission District — and one particular mural that he loves and remembers dearly.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6480280563\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to the Bay. Happy Valentine’s Day, everyone. San Francisco gets a lot of hate, but you don’t get to hate it unless you love it. And one person I know who loves San Francisco is my colleague, Carlos Cabrera-Lomelí, who proudly reps the Mission District.\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>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was just such a place where they were characters everywhere. It was definitely a feeling of like, everyone could do what they want or just be themselves.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Carlos has seen the neighborhood through a lot of changes over the years. Stores closing, childhood friends priced out and beloved murals getting painted over. This Valentine’s Day, Carlos shares with us a story of one mural he loved dearly and what it meant to lose it. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I’m Carlos Cabrera-Lomelí, and I’m the community engagement reporter with KQED. So my family first arrived in the Bay area when I was seven. We moved to Oakland. Back then it was myself, my mom, and at the time my stepdad. During that time, my little brother was born. We’re eight years apart. A few months later, when we moved to Hayward and and Hayward, things took a turn for the worst.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My stepdad. He did things that made my mom and myself unsafe emotionally and physically hurting us. And it got to a point where my mom decided to leave and come to San Francisco, because here there are several really, really amazing, incredibly helpful and generous shelters for moms and their kids. The reason we moved to San Francisco wasn’t a very happy one.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was a very painful one, but it was also the start of a really, really amazing relationship with a place that welcomed us with a lot of people who worked really hard to make sure that we were safe and that we have what we needed. We first moved to Hays Valley, and that’s where we were for over a year and a shelter. And when I was ten, we made it to the mission where I still call home. At that time I was starting middle school.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My middle school was in the Fillmore in the Western addition. It was a KIPP school, which for folks unfamiliar, that’s a charter school system, a very, very like disciplined charter school system. We had to be in school from 730 to 5. But as soon as it was five, the way that we would, like, run out like rats out of the school building to just hang out to like, run around for the kids who lived in the mission, you know, we’d get on the 22 and then eventually, you know, the 14, the 49 there.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>They’re these huge busses, these long, super long busses, and they’re like kind of like two busses, like connected. And the back, the windows were a thing where all you had to do was push them and they would open up, and there were these huge windows and we would always be parting. None of us had like real speakers, but we all had like, radios. We like blasting like radio music and then like doing other stuff that you weren’t supposed to do in our bus.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>And then as soon as, like, you know, the driver would get mad at us. We’d all, like, jump out from those windows. Seeing friends, you know, like, hold onto the back of the bus because they were on their skateboards and they would just, like, grab on the back of the bus, and the bus would just, you know, like, ferry them through the mission.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There are definitely things that maybe things my friends and I were doing pretty early on that we shouldn’t have been doing. But it’s always been a very active, super colorful, super noisy, super loud part of the city, which I love. I was born and raised in Mexico City. Also, I’m very loud and very colorful and just very chaotic city. I knew I wanted to be back where there was just kids playing in the street, busses moving all the time, cars, music, am.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Mission Street has always been that. I was ten years old when I first saw Al Fuego or Cease Fire by Juan Alisha on the corner of Mission Street and 21st Street. It’s immediately. What stood out to me was that it was the face like a kid. And this kid, he was standing on this beautiful, beautiful field. And there’s mountains and it looks so humid and green and just lush. But in front of him, there’s many, many machine guns pointing at him.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But what’s separating him from the machine? Guns are two hands, huge hands. And you can’t see whose hands they are. They just appear in front of the kid. The kid is looking at you, and it’s very much like a mona Lisa effect, where no matter where you are on the intersection, it felt like he was looking at you. You know, they weren’t angry, they weren’t happy, they weren’t sad, but they were just eyes full of a very strong emotion.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>That immediately struck me. You know the element like, why are guns pointing at this kid? Who is he and who are those hands? Now, the mural was showing a moment where, like, a kid was in danger. But this force, these hands came and defended him. I’ve always been very protective of my mom. We were very close. At that time, I brother was only one when we left the situation with my stepdad. I made a promise that I would always protect them.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> Seeing a visual representation of hands coming to protect someone vulnerable, it’s showing me that it is possible and that I’m also in a place that believes in it, that strongly believes in it. You know, again, this wasn’t in a random alley. It was in the heart of this neighborhood. Tens of thousands of people must have walked past it every single day. Juan Alicia painted ceasefire in 1988.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There was a lot of armed conflicts throughout the region of Central America and in Honduras. There was a very active American intervention, and the mural was actually set in the fields of Honduras. Many of the folks left and came to San Francisco. You’ve had families coming from Central America for 40, 50 years. Many other parts of the US are seeing folks come from Central America, and it’s like the first wave.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But San Francisco is a place where you see, you know, two, three, four generations of Central American families here. And one Alysia in 1988 decides to paint a mural. Calling for a cease fire and a protection of civilians in Honduras. And that’s what we see. We see a young boy who represents the vulnerable civilian population of Honduras.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Being protected, being shielded away from a lot of the violence, a lot of the guns, a lot of the armaments that were being brought in thanks to American imperialism, American foreign policy objectives. You know, as I became, I feel like more and more San Franciscan, I learned that that is history of folks coming from Central America to create a sanctuary, a safe space for their homes, for their families here in the city. It really connected? With what?\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>The reason that my family had come San Francisco. I first found out that the mural was the face through my mom. I’m out comes and I’m in high school. And she says, you can’t believe what happened to Juan Alice’s mural. And the next day I go check it out. And sure enough, someone had scribbled, I think, something like toy across it. A couple days later, more tagging happens on it and there was no explanation.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It wasn’t necessarily something like frustrating, but really just like a why why someone would do this to something so beautiful and important. As I understand Juan Alisha raised funds to try to rehabilitate the mural, but at the end of the day, then it happened. And then years later, the property owners commissioned another mural on top of it. And it’s the painting of a horse. The horses isn’t like doing anything or jumping over a fence or anything.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It’s just the horse, and it’s like standing on a beach or empty field and that’s about it. I really do think that it doesn’t have the same context and the same message. And I’ve definitely been in many conversations with people that are like, why is there a horse there and what? But years later, the horse is still there. So I guess it’s part of us now too.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>One of my favorite things to do when I go running throughout the mission is because I have a list of favorite murals I like to see, and there are some murals are no longer exist, but I think that that is the one that I it’s the most. Years later, I actually got to see a version of the mural one more time. And this was at an exhibition organized by the San Francisco Arts Commission. They included one of the original sketches that Juan Alicia had made of the mural, and it wasn’t huge.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was like maybe three feet by four feet and there wasn’t any color. But you know the boy. He looked at you with the same intensity. The landscape was still as beautiful as it was when I first looked at it. I couldn’t believe it. I couldn’t believe that I was seeing it after such a long time. I never thought I was going to see them like a version of that mural again.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>So much had happened since I had last seen it. I went to college, I graduated. I became a journalist. I learned so many things about myself and seeing it again. It was like coming back into contact with that younger version of me, and I realized, whoa, it doesn’t necessarily have the same grounding effect as it did before, but I think that’s okay. You know, so much has changed for the better.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My family, you know, we’ve obviously become a lot more stable. And we’ve been we’ve been able to grow. You know, my mom has been able to continue her career. My brother’s about to go to college. I. You know, I’ve been able to find a career I love. When we first came into this city, you know, we had so little and just so many, just the worries and anxieties and then seeing it again on the other side.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I really appreciate that opportunity. When I think about this mural now. One of the things. That stands out is how San Francisco, this little place, specifically the mission, this little neighborhood, its place in the history of so many. Movements. So much organizing is just really, really cool. It just it shows you that this is in like the DNA of the community, of the neighborhood, of the Bay.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> I think it’s really cool when art, when public art can teach it again, because I came in as I’ve had no idea about any of this history, that I was like standing on sacred ground, pretty much. S.F. and the Bay. There’s always going to be tough spots and periods of transformation. But we have to have love for this version of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I feel like San Francisco had faith in me and my family when we first came in. Right? And I’m not someone who, you know, drops a ball or leaves the court when things are getting a little, a little tougher. Things are not going to get better if the people that love it stop loving it.\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>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Carlos Cabrera-Lomelí, a community engagement reporter for KQED. This 40 minute conversation with Carlos was pitched, cut down, and edited by producer Maria Esquinca, with additional production and editing support from senior editor Alan Montecillo and me, who scored this episode. Our intern is Ellie Prickett-Morgan. Music courtesy of First Come Music Audio Network and blew down sessions. And I’m Ericka Cruz Guevarra. Thanks for listening. And from all of us here at the Bay. Happy Valentine’s Day.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11975756/loving-and-losing-a-mural-in-the-mission","authors":["8654","11708","11802","11898","11649"],"categories":["news_8"],"tags":["news_20257","news_5270","news_1247","news_38","news_22598","news_2301"],"featImg":"news_11975800","label":"source_news_11975756"},"news_11929099":{"type":"posts","id":"news_11929099","meta":{"index":"posts_1591205157","site":"news","id":"11929099","score":null,"sort":[1665881316000]},"guestAuthors":[],"slug":"we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history","title":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History","publishDate":1665881316,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>A turquoise, black and red street mural covering a section of the JFK Promenade with the words \"We Are on Native Land\" was vandalized on Thursday night.\u003c/p>\n\u003cp>Passersby and employees of the San Francisco Recreation and Parks Department first noticed the changes early Friday morning. The lead muralist on the project, Rachel Znerold, found out via text message. The mural had been finished just a few days before, in time for Indigenous Peoples Day. Now, she learned, someone had poured black paint over the word \"Native\" and written \"no such thing\" in yellow spray paint above the blacked-out word. [pullquote size=\"medium\" align=\"right\" citation=\"Aiko Little, vice chair, WGAW's Native American and Indigenous Writers Committee\"]'We are not an imaginary people or people of the past. This is Native land.'[/pullquote]In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>\"The recognition of our community has been met repeatedly with resistance and violent behavior,\" said Mary Travis-Allen, advisory board president of San Francisco's \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. \"Scraping paint off the ground does not erase us. We are here and present.\"\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>\"For someone to paint over the word 'Native' shows that racism against Native Americans is still a big issue in San Francisco,\" she said.[aside tag=\"indigenous, native\" label=\"More Related Stories\"]This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>\"This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,\" Little said. \"I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.\"\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>\"This ugly act cannot erase the beautiful message behind this installation,\" he said. \"It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.\"\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>\"The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,\" said Cordero. \"I really see this (vandalism) as an aberration.\"\u003c/p>\n\u003cp>But, he added, \"when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here ... still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.\"\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD's \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>\"We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,\" Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>\"We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,\" she said, describing families and passersby who stopped to help with the painting while the mural was in progress. \"We're gonna fix it up and we're gonna keep coming back and fixing it up.\"\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, \"this is what they're facing every day.\"\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>\"If anti-racist work was done, then we wouldn't need to be out here. But it is the kind of work you have to keep showing up for every single day. So it's a reminder, a humbling reminder, that our work is continuous,\" said Znerold.\u003c/p>\n\u003cp>\"It's not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.\"\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"San Francisco's American Indian Cultural District commissioned the mural as part of their Indigenize project, celebrating the long history of Native American life in San Francisco through public art. ","status":"publish","parent":0,"modified":1666118402,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":881},"headData":{"title":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History | KQED","description":"San Francisco's American Indian Cultural District commissioned the mural as part of their Indigenize project, celebrating the long history of Native American life in San Francisco through public art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History","datePublished":"2022-10-16T00:48:36.000Z","dateModified":"2022-10-18T18:40:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11929099 https://ww2.kqed.org/news/?p=11929099","disqusUrl":"https://ww2.kqed.org/news/2022/10/15/we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history/","disqusTitle":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History","excludeFromSiteSearch":"Include","path":"/news/11929099/we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A turquoise, black and red street mural covering a section of the JFK Promenade with the words \"We Are on Native Land\" was vandalized on Thursday night.\u003c/p>\n\u003cp>Passersby and employees of the San Francisco Recreation and Parks Department first noticed the changes early Friday morning. The lead muralist on the project, Rachel Znerold, found out via text message. The mural had been finished just a few days before, in time for Indigenous Peoples Day. Now, she learned, someone had poured black paint over the word \"Native\" and written \"no such thing\" in yellow spray paint above the blacked-out word. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We are not an imaginary people or people of the past. This is Native land.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Aiko Little, vice chair, WGAW's Native American and Indigenous Writers Committee","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>\"The recognition of our community has been met repeatedly with resistance and violent behavior,\" said Mary Travis-Allen, advisory board president of San Francisco's \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. \"Scraping paint off the ground does not erase us. We are here and present.\"\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>\"For someone to paint over the word 'Native' shows that racism against Native Americans is still a big issue in San Francisco,\" she said.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"indigenous, native","label":"More Related Stories "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>\"This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,\" Little said. \"I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.\"\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>\"This ugly act cannot erase the beautiful message behind this installation,\" he said. \"It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.\"\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>\"The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,\" said Cordero. \"I really see this (vandalism) as an aberration.\"\u003c/p>\n\u003cp>But, he added, \"when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here ... still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.\"\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD's \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>\"We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,\" Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>\"We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,\" she said, describing families and passersby who stopped to help with the painting while the mural was in progress. \"We're gonna fix it up and we're gonna keep coming back and fixing it up.\"\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, \"this is what they're facing every day.\"\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>\"If anti-racist work was done, then we wouldn't need to be out here. But it is the kind of work you have to keep showing up for every single day. So it's a reminder, a humbling reminder, that our work is continuous,\" said Znerold.\u003c/p>\n\u003cp>\"It's not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.\"\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11929099/we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history","authors":["11626","11772"],"categories":["news_29992","news_223","news_31795","news_28250","news_8"],"tags":["news_20257","news_823","news_27966","news_28429","news_1247","news_30184","news_21512"],"featImg":"news_11929111","label":"news"},"news_11848986":{"type":"posts","id":"news_11848986","meta":{"index":"posts_1591205157","site":"news","id":"11848986","score":null,"sort":[1606993254000]},"guestAuthors":[],"slug":"inside-frida-kahlo-and-diego-riveras-life-in-san-francisco","title":"Inside Frida Kahlo and Diego Rivera's Life in San Francisco","publishDate":1606993254,"format":"standard","headTitle":"Inside Frida Kahlo and Diego Rivera’s Life in San Francisco | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/podcasts/baycurious\">Bay Curious\u003c/a> listener Erin Al Gwaiz wrote us asking to learn more about Frida Kahlo and Diego Rivera’s time spent in San Francisco and their lasting impact on the arts scene here. This story originally ran on Dec. 3, 2020.\u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hese days, Frida Kahlo’s image is all around us. Her iconic eyebrows and piercing gaze have been immortalized on T-shirts, tote bags and tequila bottles. There’s even a \u003ca href=\"https://barbie.mattel.com/shop/en-us/ba/inspiring-women-series/barbie-inspiring-women-series-frida-kahlo-doll-fjh65\">Frida Barbie doll\u003c/a>.\u003c/p>\n\u003cp>But before her image became so commercialized and ubiquitous, Kahlo was just a budding artist waiting for her big break. Married to the older and already famous artist Diego Rivera, Kahlo was determined to make a name for herself, and her time in San Francisco would help her do that.\u003c/p>\n\u003ch3>Frida and Diego Come to San Francisco\u003c/h3>\n\u003cp>It was a place she called “the city of the world,” and she often dreamed of it as a teenager, says University of San Francisco professor and author of \u003cem>\u003ca href=\"http://fridakahlojourney.com/index.html\">Frida in America\u003c/a>\u003c/em>, Celia Stahr. As she and Rivera make their way to San Francisco in 1930, she doodles a portrait of herself set against a backdrop of how she imagined the city to be.\u003c/p>\n\u003cp>“When they get to San Francisco, she shows it to Diego and he just marvels at how much it looks like what they’re seeing before them, kind of like she already knew what it was going to look like even though she’d never been [here],” says Stahr. “So there’s a sense of destiny that she was supposed to come here.”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Despite the fact that it was the Great Depression and paid work opportunities for American artists were scarce, Rivera landed two prestigious mural commissions: one at the \u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\">San Francisco Art Institute\u003c/a> and another at the Pacific Stock Exchange building, now called the City Club of San Francisco. His patrons hoped that Rivera’s fame would bring prestige to the local art scene and help jump-start a mural movement in the bay.\u003c/p>\n\u003cp>But Rivera was a controversial pick for the Stock Exchange. As a member of the Mexican Communist Party, Rivera imbued his politics in his large-scale public murals. Many San Francisco artists were outraged that an outspoken communist would paint in the city’s “citadel of capitalism” and took to the newspaper to express their opposition.\u003c/p>\n\u003cfigure id=\"attachment_11848996\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848996 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg\" alt=\"\" width=\"383\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg 383w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313-160x167.jpg 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Rivera at work on the ‘Allegory of California’ mural at the Pacific Stock Exchange. \u003ccite>(San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe he is the greatest living artist in the world and we would do well to have an example of his work in a public building in San Francisco. But he is not the man for the Stock Exchange building,” argued painter Maynard Dixon.\u003c/p>\n\u003cp>Where his critics saw offense, his supporters saw beauty. Rivera’s masterful use of the fresco technique, applying pigment to wet plaster, fascinated local artists who eagerly wanted to learn the craft.\u003c/p>\n\u003cp>In one of the many letters Kahlo wrote to her family about the Bay Area, she notes the nonstop attention Rivera attracted. “The poor guy can’t even go to the bathroom in peace because they’re bugging him all day,” she wrote.\u003c/p>\n\u003cp>The 23-year-old Kahlo had only been painting for five years, and the local press merely regarded her as the wife of the famous Mexican muralist.\u003c/p>\n\u003cp>“She hasn’t had that much experience. She hasn’t really found her artistic voice quite yet,” explains Celia Stahr.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>Soirees, Sketching and Sightseeing\u003c/h3>\n\u003cp>In their new home at 716 Montgomery St., not far from North Beach and Chinatown, Kahlo was surrounded by artists who energized her creative process, says Stahr. For six months, the couple stayed at the studio of Rivera’s old classmate and friend, sculptor Ralph Stackpole, who introduced them to an eclectic group of writers, painters and photographers.\u003c/p>\n\u003cfigure id=\"attachment_11848997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848997 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg\" alt=\"\" width=\"800\" height=\"820\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-160x164.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut.jpg 858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rivera and Kahlo stay at the studio of sculptor Ralph Stackpole while living in San Francisco between 1930-1931. \u003ccite>(Archives of American Art, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many Bay Area-based artists they befriended included Dorothea Lange and her husband Maynard Dixon (who had warmed to Rivera by this point).\u003c/p>\n\u003cp>“The foursome talked art, politics, and the bleak times,” writes Stahr. “Dorothea’s need to respond to these desperate times appealed to Frida and Diego’s working-class sympathies.”\u003c/p>\n\u003cp>Part of Kahlo’s routine was getting together with \u003ca href=\"https://en.wikipedia.org/wiki/Pele_de_Lappe\">Pele deLappe\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Lucile_Blanch\">Lucile Blanch\u003c/a> to make art.\u003c/p>\n\u003cp>“We would draw these composite drawings where each one would start on a particular sheet of paper and then trade them off and pass them around,” recalled deLappe in an interview \u003ca href=\"https://archive.org/details/pele-frieda\">recorded in 2001\u003c/a>. “[The sketches] were usually very obscene or horrendous and bloody or sensuous in some way.”\u003c/p>\n\u003cp>Art historian Celia Stahr says these hangouts were helpful for Kahlo’s artistic development.\u003c/p>\n\u003cp>When she and Rivera weren’t busy painting, they made plenty of time for sightseeing around San Francisco.\u003c/p>\n\u003cp>“In the Russia colony they dress as they do in Russia, and the girls dance on the hills. The Greek colony is also very interesting and the Japanese, but most of all the Chinese,” Frida wrote in a letter to her mother.\u003c/p>\n\u003cp>“She just gushes about Chinatown and she writes about it quite a bit. It reminded her very much, she said, of home. She writes about how she’s convinced that the Mexican people and the Chinese people are connected to one another,” says Stahr.\u003c/p>\n\u003cp>Letters detail how the firecrackers during Chinese New Year festivities reminded Kahlo of street fairs back in Mexico. Silks and other handmade fabrics sold in the shops of Chinatown also caught her eye. She purchased a few to embellish her red leather boots and make into Mexican-style skirts.\u003c/p>\n\u003cp>Kahlo’s style definitely caught the attention of San Franciscans. Her indigenous dress, influenced by the Zapotec women of Tehuantepec, stirred so much excitement on the streets of San Francisco that she reportedly stopped traffic.\u003c/p>\n\u003cfigure id=\"attachment_11848998\" class=\"wp-caption alignright\" style=\"max-width: 345px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848998 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg\" alt=\"\" width=\"345\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg 345w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633-160x186.jpg 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo painting a portrait of Mrs. Jean Wight in San Francisco \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The gringas seem to like me a lot and they are really impressed by all the dresses and rebozos I brought with me, they gape at the jade necklaces and all the painters want me to model for the portraits,” Kahlo wrote to her mother.\u003c/p>\n\u003cp>Her bold look catches the attention of well-known photographers Imogen Cunningham and Edward Weston, who ask her to pose for them in San Francisco. Since Kahlo was the daughter of a photographer, she was a natural in front of the camera. A local writer also pens a play about her and Rivera called “\u003ca href=\"https://www.si.edu/object/AAADCD_item_766\">The Queen of Montgomery Street\u003c/a>.”\u003c/p>\n\u003cp>This recognition adds to Frida’s growing artist persona and helped plant the seeds for her eventual rise to icon status.\u003c/p>\n\u003cp>But underneath her colorful garments, Kahlo’s body ached. At 18 she had suffered a horrific street car accident that severely damaged most of her body and exacerbated the chronic pain of her polio leg. Her long walks around San Francisco began to take a toll on her.\u003c/p>\n\u003ch3>New Friends, New Places and New Ideas\u003c/h3>\n\u003cp>That changed when she met \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/portrait-of-dr-leo-eloesser-1931\">Dr. Leo Eloesser\u003c/a>, who would ultimately have a big impact on her life. Eloesser was the chief of thoracic surgery at San Francisco General Hospital and he went above and beyond to treat Kahlo’s foot and leg pain, even showing up at her doorstep when she’d miss her appointments.\u003c/p>\n\u003cp>Beyond his thorough care, he connected with Kahlo and Rivera on a creative level.\u003c/p>\n\u003cp>“Leo was a musician. He played viola and he would have weekly soirees at his flat. And so he was a doctor, but you could say he had the soul of an artist,” said Stahr.\u003c/p>\n\u003cp>The three of them even traveled around Northern California together. One time, Eloesser took Kahlo on her first plane ride. They flew from Oakland to Sacramento to meet up with Rivera who was busy sketching mines and dredgers for his \u003ca href=\"https://www.wikiart.org/en/diego-rivera/allegory-of-california-1931\">“Allegory of California” \u003c/a>mural. One of these excursions proved to be a major turning point for Kahlo’s art.\u003c/p>\n\u003cp>On a trip to Santa Rosa, Rivera and Kahlo visited the garden of the famous horticulturist Luther Burbank, known as “the wizard of horticulture.” He developed more than 800 varieties of fruits, vegetables and plants by cross breeding two kinds together.\u003c/p>\n\u003cfigure id=\"attachment_11849000\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849000 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg\" alt=\"\" width=\"640\" height=\"893\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-800x1117.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-160x223.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1100x1536.jpg 1100w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1467x2048.jpg 1467w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-scaled.jpg 1833w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera and Frida Kahlo at the garden of Luther Burbank in Santa Rosa \u003ccite>(Luther Burbank Home & Gardens Collection--Sonoma County Library Digital Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing how Burbank literally fused together two organisms to create something brand new mesmerized Kahlo. She applies Burbank’s hybrid technique to her art, and what comes out is a \u003ca href=\"https://artsandculture.google.com/story/portrait-of-luther-burbank/fwJiOmp7mtPdLA\">portrait of the horticulturist\u003c/a> as part human and part tree trunk with roots connecting to his buried corpse.\u003c/p>\n\u003cp>[emailsignup newslettername=\"baycurious\" align=\"right\"]\u003c/p>\n\u003cp>“This is really her first major breakthrough creatively, in terms of creating a new style that was very different from what she’d been working on,” explains Stahr.\u003c/p>\n\u003cp>From this point on, Kahlo continued to play with imagery of \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/roots-1943\">roots\u003c/a>, plants and \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/the-wounded-deer-1946\">hybrid bodies\u003c/a> to portray themes of life and death. It’s a duality that was already part of her Mexican upbringing, says Stahr, but a visual style that was honed here in the Bay Area.\u003c/p>\n\u003cp>When Rivera completed his two murals in 1931, the couple briefly went back to Mexico before returning to the U.S. to paint in New York City and Detroit. But it wouldn’t be the last time they visited San Francisco.\u003c/p>\n\u003ch3>Frida and Diego Take on San Francisco a Second Time\u003c/h3>\n\u003cp>When they return a decade later, Kahlo and Rivera are divorced, and they arrive following dramatic circumstances.\u003c/p>\n\u003cp>First came Rivera, who fled Mexican authorities who wanted to question him about the attempted assassination of his former friend and exiled Russian revolutionary, Leon Trotsky.\u003c/p>\n\u003cp>Kahlo wasn’t so lucky. Months later, when Trotsky was actually assassinated, the police detained her for questioning, believing she was an accomplice. (Years prior, she and Rivera offered their Casa Azul to Trotsky and his wife for political asylum). The brief experience in jail left her traumatized.\u003c/p>\n\u003cp>“She was in a terrible emotional state. Physically, she wasn’t doing well. She complained of back and leg pain,” says Stahr.\u003c/p>\n\u003cfigure id=\"attachment_11849008\" class=\"wp-caption alignleft\" style=\"max-width: 599px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849008 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg\" alt=\"\" width=\"599\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg 599w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1-160x342.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">A letter Kahlo wrote to Rivera while hospitalized at St. Luke’s \u003ccite>(Archives of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response, her doctors in Mexico advised her to undergo more surgeries. But her friend and trusted doctor, Leo Eloesser, didn’t agree. He felt her emotional health needed tending to, so he prescribed her a better diet, less drinking and advised her to reconcile with Rivera in San Francisco.\u003c/p>\n\u003cp>“[Eloesser] played this important role in their marriage. He was really the go between with their relationship,” explains Stahr.\u003c/p>\n\u003cp>Kahlo took his advice and when she arrived, she resided with Rivera at 42 Calhoun Terrace in Telegraph Hill before letting Eloesser admit her to St. Luke’s Hospital in the Mission District.\u003c/p>\n\u003cp>Meanwhile, Rivera was busy working on his \u003ca href=\"https://www.ccsf.edu/campus-life/arts-ccsf/pan-american-unity-mural\">largest single standing mural\u003c/a>, known as the “Pan American Unity” mural. For months he and his assistants painted in front of a public audience at Treasure Island during the Golden Gate International Exposition. (\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187038\">Watch this video clip\u003c/a> of Rivera and his team painting at Treasure Island.)\u003c/p>\n\u003cp>Once again, Rivera’s art sparked controversy. Not because he painted his communist politics but because he portrayed the cruelty of Nazi Germany. It was his way of urging the U.S. to intervene in World War II and protect all of the Americas, including Mexico.\u003c/p>\n\u003cp>When Kahlo was discharged from the hospital and felt physically and emotionally stronger, she and Rivera remarried at San Francisco City Hall on Rivera’s 54th birthday.\u003c/p>\n\u003cp>The Oakland Tribune snaps a photograph of the couple and this time acknowledges Kahlo as “an artist in her own right.”\u003c/p>\n\u003cfigure id=\"attachment_11848999\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11848999\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg\" alt=\"\" width=\"477\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg 477w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975-160x134.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo and Rivera remarry at San Francisco City Hall in 1940 \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By 1940 she has achieved quite a bit. You might say she’s at the height of her career at that time,” says Stahr.\u003c/p>\n\u003cp>Her art was exhibited at the World’s Fair on Treasure Island, the Legion of Honor and landed in the hands of an important collector, Albert Bender, who was affiliated with San Francisco Museum of Modern Art — all things that helped give Kahlo wider exposure around the U.S.\u003c/p>\n\u003cp>“You have no idea how marvelous the city is, it helped me a lot to come because it opened my eyes and I’ve seen lots of swell new things,” wrote Kahlo to a friend.*\u003c/p>\n\u003ch3>A Legacy That Keeps Evolving\u003c/h3>\n\u003cp>As much as the Bay Area provided Kahlo and Rivera a platform to create and thrive, the couple also gave San Francisco a lasting blueprint for creativity.\u003c/p>\n\u003cp>“In fact, Coit Tower and the murals there emerge because of Diego’s influence,” says Stahr. Some of the Coit Tower muralists actually trained under Rivera, following in his footsteps by painting large-scale fresco murals that focus on workers and class issues.\u003c/p>\n\u003cp>His work also emboldened muralists at the \u003ca href=\"https://www.atlasobscura.com/places/beach-chalet-wpa-murals\">Beach Chalet\u003c/a> and \u003ca href=\"https://www.foundsf.org/index.php?title=UCSF%27s_Depression-Era_Medical_History_Murals\">UCSF\u003c/a>. Ultimately, his patron’s desire for a mural movement to take off in San Francisco came to fruition.\u003c/p>\n\u003cfigure id=\"attachment_11848992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848992 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-160x233.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut.jpg 941w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Starting in the 1970s, exhibits and events at La Galería de la Raza in the Mission District helped generate interest and appreciation for Kahlo’s life. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahlo’s body of work also had a monumental impact on Bay Area artists, starting in the 1970s.\u003c/p>\n\u003cp>As many Chicanos and Latinos continued the fight for civil rights and representation, local artists like \u003ca href=\"https://en.wikipedia.org/wiki/Amalia_Mesa-Bains\">Amalia Mesa-Bains\u003c/a> turned to Kahlo and Rivera’s art as a source of empowerment and cultural pride.\u003c/p>\n\u003cp>“We had experienced racism and discrimination and so we needed to reclaim our sense of belonging. Frida and Diego became in many ways models for us, that an artist could be at the same time political and cultural,” says Mesa-Bains.\u003c/p>\n\u003cfigure id=\"attachment_11848993\" class=\"wp-caption alignright\" style=\"max-width: 328px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848993\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg\" alt=\"\" width=\"328\" height=\"429\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut.jpg 791w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Rupert Garcia for the seminal 1978 exhibition. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mesa-Bains and other Chicana/o artists were so moved by Kahlo’s complicated and bold art that they curated an exhibition called “Homenaje a Frida Kahlo” at the\u003ca href=\"http://www.galeriadelaraza.org/\"> Galería de la Raza\u003c/a> in 1978.\u003c/p>\n\u003cp>Artists created works inspired by Kahlo and those who personally knew the couple in San Francisco, such as \u003ca href=\"https://en.wikipedia.org/wiki/Emmy_Lou_Packard\">Emmy Lou Packard\u003c/a>, were invited to share memories of them.\u003c/p>\n\u003cp>This exhibit came at a time when there was very little published about Kahlo’s life and work, so it was seminal to introducing Kahlo to a wider audience before Frida-mania ensued.\u003c/p>\n\u003cp>Today, local artists continue to pay tribute to the two Mexican artists. Rio Yañez’s series, “\u003ca href=\"https://www.flickr.com/photos/elrio/sets/72157594566662293/\">Ghetto Frida\u003c/a>,” imagines Kahlo as a sort of comic book character hanging out at various spots in the pre-gentrified Mission District. And the political ethos of street art in the Bay hearkens back to Rivera’s masterpieces.\u003c/p>\n\u003cp>In 2018, San Francisco city officials renamed a street after Frida Kahlo in front of City College of San Francisco’s main campus, also the permanent home of Diego Rivera’s “\u003ca href=\"https://riveramural.org/\">Pan American Unity” mural\u003c/a>.\u003c/p>\n\u003cp>In what Kahlo called the “city of the world” the lasting brush strokes of Mexico’s most known artists are as vibrant as ever.\u003c/p>\n\u003cfigure id=\"attachment_11848991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848991 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1536x1229.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2009, Rio Yañez created Ghetto Frida’s ‘Mission Memories’ to pay tribute to the iconic artist and favorite spots growing up in the Mission district. \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The translated quotes from Kahlo’s letters to her family that appear in this article have been sourced from Celia Stahr’s book, “\u003ca href=\"https://us.macmillan.com/books/9781250113399\">Frida in America: The Creative Awakening of a Great Artist\u003c/a>.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>* Letter to Kahlos’s friend appears in Frida by Frida collected by Raquel Tibol\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Bay Area provided Kahlo and Rivera a place to create and thrive, and they gave San Francisco a lasting blueprint for creativity. ","status":"publish","parent":0,"modified":1700589136,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":68,"wordCount":2773},"headData":{"title":"Inside Frida Kahlo and Diego Rivera's Life in San Francisco | KQED","description":"The Bay Area provided Kahlo and Rivera a place to create and thrive, and they gave San Francisco a lasting blueprint for creativity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Inside Frida Kahlo and Diego Rivera's Life in San Francisco","datePublished":"2020-12-03T11:00:54.000Z","dateModified":"2023-11-21T17:52:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC4452216207.mp3?updated=1660796816","excludeFromSiteSearch":"Include","path":"/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/podcasts/baycurious\">Bay Curious\u003c/a> listener Erin Al Gwaiz wrote us asking to learn more about Frida Kahlo and Diego Rivera’s time spent in San Francisco and their lasting impact on the arts scene here. This story originally ran on Dec. 3, 2020.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hese days, Frida Kahlo’s image is all around us. Her iconic eyebrows and piercing gaze have been immortalized on T-shirts, tote bags and tequila bottles. There’s even a \u003ca href=\"https://barbie.mattel.com/shop/en-us/ba/inspiring-women-series/barbie-inspiring-women-series-frida-kahlo-doll-fjh65\">Frida Barbie doll\u003c/a>.\u003c/p>\n\u003cp>But before her image became so commercialized and ubiquitous, Kahlo was just a budding artist waiting for her big break. Married to the older and already famous artist Diego Rivera, Kahlo was determined to make a name for herself, and her time in San Francisco would help her do that.\u003c/p>\n\u003ch3>Frida and Diego Come to San Francisco\u003c/h3>\n\u003cp>It was a place she called “the city of the world,” and she often dreamed of it as a teenager, says University of San Francisco professor and author of \u003cem>\u003ca href=\"http://fridakahlojourney.com/index.html\">Frida in America\u003c/a>\u003c/em>, Celia Stahr. As she and Rivera make their way to San Francisco in 1930, she doodles a portrait of herself set against a backdrop of how she imagined the city to be.\u003c/p>\n\u003cp>“When they get to San Francisco, she shows it to Diego and he just marvels at how much it looks like what they’re seeing before them, kind of like she already knew what it was going to look like even though she’d never been [here],” says Stahr. “So there’s a sense of destiny that she was supposed to come here.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Despite the fact that it was the Great Depression and paid work opportunities for American artists were scarce, Rivera landed two prestigious mural commissions: one at the \u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\">San Francisco Art Institute\u003c/a> and another at the Pacific Stock Exchange building, now called the City Club of San Francisco. His patrons hoped that Rivera’s fame would bring prestige to the local art scene and help jump-start a mural movement in the bay.\u003c/p>\n\u003cp>But Rivera was a controversial pick for the Stock Exchange. As a member of the Mexican Communist Party, Rivera imbued his politics in his large-scale public murals. Many San Francisco artists were outraged that an outspoken communist would paint in the city’s “citadel of capitalism” and took to the newspaper to express their opposition.\u003c/p>\n\u003cfigure id=\"attachment_11848996\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848996 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg\" alt=\"\" width=\"383\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg 383w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313-160x167.jpg 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Rivera at work on the ‘Allegory of California’ mural at the Pacific Stock Exchange. \u003ccite>(San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe he is the greatest living artist in the world and we would do well to have an example of his work in a public building in San Francisco. But he is not the man for the Stock Exchange building,” argued painter Maynard Dixon.\u003c/p>\n\u003cp>Where his critics saw offense, his supporters saw beauty. Rivera’s masterful use of the fresco technique, applying pigment to wet plaster, fascinated local artists who eagerly wanted to learn the craft.\u003c/p>\n\u003cp>In one of the many letters Kahlo wrote to her family about the Bay Area, she notes the nonstop attention Rivera attracted. “The poor guy can’t even go to the bathroom in peace because they’re bugging him all day,” she wrote.\u003c/p>\n\u003cp>The 23-year-old Kahlo had only been painting for five years, and the local press merely regarded her as the wife of the famous Mexican muralist.\u003c/p>\n\u003cp>“She hasn’t had that much experience. She hasn’t really found her artistic voice quite yet,” explains Celia Stahr.\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\u003ch3>Soirees, Sketching and Sightseeing\u003c/h3>\n\u003cp>In their new home at 716 Montgomery St., not far from North Beach and Chinatown, Kahlo was surrounded by artists who energized her creative process, says Stahr. For six months, the couple stayed at the studio of Rivera’s old classmate and friend, sculptor Ralph Stackpole, who introduced them to an eclectic group of writers, painters and photographers.\u003c/p>\n\u003cfigure id=\"attachment_11848997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848997 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg\" alt=\"\" width=\"800\" height=\"820\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-160x164.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut.jpg 858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rivera and Kahlo stay at the studio of sculptor Ralph Stackpole while living in San Francisco between 1930-1931. \u003ccite>(Archives of American Art, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many Bay Area-based artists they befriended included Dorothea Lange and her husband Maynard Dixon (who had warmed to Rivera by this point).\u003c/p>\n\u003cp>“The foursome talked art, politics, and the bleak times,” writes Stahr. “Dorothea’s need to respond to these desperate times appealed to Frida and Diego’s working-class sympathies.”\u003c/p>\n\u003cp>Part of Kahlo’s routine was getting together with \u003ca href=\"https://en.wikipedia.org/wiki/Pele_de_Lappe\">Pele deLappe\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Lucile_Blanch\">Lucile Blanch\u003c/a> to make art.\u003c/p>\n\u003cp>“We would draw these composite drawings where each one would start on a particular sheet of paper and then trade them off and pass them around,” recalled deLappe in an interview \u003ca href=\"https://archive.org/details/pele-frieda\">recorded in 2001\u003c/a>. “[The sketches] were usually very obscene or horrendous and bloody or sensuous in some way.”\u003c/p>\n\u003cp>Art historian Celia Stahr says these hangouts were helpful for Kahlo’s artistic development.\u003c/p>\n\u003cp>When she and Rivera weren’t busy painting, they made plenty of time for sightseeing around San Francisco.\u003c/p>\n\u003cp>“In the Russia colony they dress as they do in Russia, and the girls dance on the hills. The Greek colony is also very interesting and the Japanese, but most of all the Chinese,” Frida wrote in a letter to her mother.\u003c/p>\n\u003cp>“She just gushes about Chinatown and she writes about it quite a bit. It reminded her very much, she said, of home. She writes about how she’s convinced that the Mexican people and the Chinese people are connected to one another,” says Stahr.\u003c/p>\n\u003cp>Letters detail how the firecrackers during Chinese New Year festivities reminded Kahlo of street fairs back in Mexico. Silks and other handmade fabrics sold in the shops of Chinatown also caught her eye. She purchased a few to embellish her red leather boots and make into Mexican-style skirts.\u003c/p>\n\u003cp>Kahlo’s style definitely caught the attention of San Franciscans. Her indigenous dress, influenced by the Zapotec women of Tehuantepec, stirred so much excitement on the streets of San Francisco that she reportedly stopped traffic.\u003c/p>\n\u003cfigure id=\"attachment_11848998\" class=\"wp-caption alignright\" style=\"max-width: 345px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848998 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg\" alt=\"\" width=\"345\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg 345w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633-160x186.jpg 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo painting a portrait of Mrs. Jean Wight in San Francisco \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The gringas seem to like me a lot and they are really impressed by all the dresses and rebozos I brought with me, they gape at the jade necklaces and all the painters want me to model for the portraits,” Kahlo wrote to her mother.\u003c/p>\n\u003cp>Her bold look catches the attention of well-known photographers Imogen Cunningham and Edward Weston, who ask her to pose for them in San Francisco. Since Kahlo was the daughter of a photographer, she was a natural in front of the camera. A local writer also pens a play about her and Rivera called “\u003ca href=\"https://www.si.edu/object/AAADCD_item_766\">The Queen of Montgomery Street\u003c/a>.”\u003c/p>\n\u003cp>This recognition adds to Frida’s growing artist persona and helped plant the seeds for her eventual rise to icon status.\u003c/p>\n\u003cp>But underneath her colorful garments, Kahlo’s body ached. At 18 she had suffered a horrific street car accident that severely damaged most of her body and exacerbated the chronic pain of her polio leg. Her long walks around San Francisco began to take a toll on her.\u003c/p>\n\u003ch3>New Friends, New Places and New Ideas\u003c/h3>\n\u003cp>That changed when she met \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/portrait-of-dr-leo-eloesser-1931\">Dr. Leo Eloesser\u003c/a>, who would ultimately have a big impact on her life. Eloesser was the chief of thoracic surgery at San Francisco General Hospital and he went above and beyond to treat Kahlo’s foot and leg pain, even showing up at her doorstep when she’d miss her appointments.\u003c/p>\n\u003cp>Beyond his thorough care, he connected with Kahlo and Rivera on a creative level.\u003c/p>\n\u003cp>“Leo was a musician. He played viola and he would have weekly soirees at his flat. And so he was a doctor, but you could say he had the soul of an artist,” said Stahr.\u003c/p>\n\u003cp>The three of them even traveled around Northern California together. One time, Eloesser took Kahlo on her first plane ride. They flew from Oakland to Sacramento to meet up with Rivera who was busy sketching mines and dredgers for his \u003ca href=\"https://www.wikiart.org/en/diego-rivera/allegory-of-california-1931\">“Allegory of California” \u003c/a>mural. One of these excursions proved to be a major turning point for Kahlo’s art.\u003c/p>\n\u003cp>On a trip to Santa Rosa, Rivera and Kahlo visited the garden of the famous horticulturist Luther Burbank, known as “the wizard of horticulture.” He developed more than 800 varieties of fruits, vegetables and plants by cross breeding two kinds together.\u003c/p>\n\u003cfigure id=\"attachment_11849000\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849000 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg\" alt=\"\" width=\"640\" height=\"893\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-800x1117.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-160x223.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1100x1536.jpg 1100w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1467x2048.jpg 1467w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-scaled.jpg 1833w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera and Frida Kahlo at the garden of Luther Burbank in Santa Rosa \u003ccite>(Luther Burbank Home & Gardens Collection--Sonoma County Library Digital Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing how Burbank literally fused together two organisms to create something brand new mesmerized Kahlo. She applies Burbank’s hybrid technique to her art, and what comes out is a \u003ca href=\"https://artsandculture.google.com/story/portrait-of-luther-burbank/fwJiOmp7mtPdLA\">portrait of the horticulturist\u003c/a> as part human and part tree trunk with roots connecting to his buried corpse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"emailsignup","attributes":{"named":{"newslettername":"baycurious","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is really her first major breakthrough creatively, in terms of creating a new style that was very different from what she’d been working on,” explains Stahr.\u003c/p>\n\u003cp>From this point on, Kahlo continued to play with imagery of \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/roots-1943\">roots\u003c/a>, plants and \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/the-wounded-deer-1946\">hybrid bodies\u003c/a> to portray themes of life and death. It’s a duality that was already part of her Mexican upbringing, says Stahr, but a visual style that was honed here in the Bay Area.\u003c/p>\n\u003cp>When Rivera completed his two murals in 1931, the couple briefly went back to Mexico before returning to the U.S. to paint in New York City and Detroit. But it wouldn’t be the last time they visited San Francisco.\u003c/p>\n\u003ch3>Frida and Diego Take on San Francisco a Second Time\u003c/h3>\n\u003cp>When they return a decade later, Kahlo and Rivera are divorced, and they arrive following dramatic circumstances.\u003c/p>\n\u003cp>First came Rivera, who fled Mexican authorities who wanted to question him about the attempted assassination of his former friend and exiled Russian revolutionary, Leon Trotsky.\u003c/p>\n\u003cp>Kahlo wasn’t so lucky. Months later, when Trotsky was actually assassinated, the police detained her for questioning, believing she was an accomplice. (Years prior, she and Rivera offered their Casa Azul to Trotsky and his wife for political asylum). The brief experience in jail left her traumatized.\u003c/p>\n\u003cp>“She was in a terrible emotional state. Physically, she wasn’t doing well. She complained of back and leg pain,” says Stahr.\u003c/p>\n\u003cfigure id=\"attachment_11849008\" class=\"wp-caption alignleft\" style=\"max-width: 599px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849008 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg\" alt=\"\" width=\"599\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg 599w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1-160x342.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">A letter Kahlo wrote to Rivera while hospitalized at St. Luke’s \u003ccite>(Archives of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response, her doctors in Mexico advised her to undergo more surgeries. But her friend and trusted doctor, Leo Eloesser, didn’t agree. He felt her emotional health needed tending to, so he prescribed her a better diet, less drinking and advised her to reconcile with Rivera in San Francisco.\u003c/p>\n\u003cp>“[Eloesser] played this important role in their marriage. He was really the go between with their relationship,” explains Stahr.\u003c/p>\n\u003cp>Kahlo took his advice and when she arrived, she resided with Rivera at 42 Calhoun Terrace in Telegraph Hill before letting Eloesser admit her to St. Luke’s Hospital in the Mission District.\u003c/p>\n\u003cp>Meanwhile, Rivera was busy working on his \u003ca href=\"https://www.ccsf.edu/campus-life/arts-ccsf/pan-american-unity-mural\">largest single standing mural\u003c/a>, known as the “Pan American Unity” mural. For months he and his assistants painted in front of a public audience at Treasure Island during the Golden Gate International Exposition. (\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187038\">Watch this video clip\u003c/a> of Rivera and his team painting at Treasure Island.)\u003c/p>\n\u003cp>Once again, Rivera’s art sparked controversy. Not because he painted his communist politics but because he portrayed the cruelty of Nazi Germany. It was his way of urging the U.S. to intervene in World War II and protect all of the Americas, including Mexico.\u003c/p>\n\u003cp>When Kahlo was discharged from the hospital and felt physically and emotionally stronger, she and Rivera remarried at San Francisco City Hall on Rivera’s 54th birthday.\u003c/p>\n\u003cp>The Oakland Tribune snaps a photograph of the couple and this time acknowledges Kahlo as “an artist in her own right.”\u003c/p>\n\u003cfigure id=\"attachment_11848999\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11848999\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg\" alt=\"\" width=\"477\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg 477w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975-160x134.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo and Rivera remarry at San Francisco City Hall in 1940 \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By 1940 she has achieved quite a bit. You might say she’s at the height of her career at that time,” says Stahr.\u003c/p>\n\u003cp>Her art was exhibited at the World’s Fair on Treasure Island, the Legion of Honor and landed in the hands of an important collector, Albert Bender, who was affiliated with San Francisco Museum of Modern Art — all things that helped give Kahlo wider exposure around the U.S.\u003c/p>\n\u003cp>“You have no idea how marvelous the city is, it helped me a lot to come because it opened my eyes and I’ve seen lots of swell new things,” wrote Kahlo to a friend.*\u003c/p>\n\u003ch3>A Legacy That Keeps Evolving\u003c/h3>\n\u003cp>As much as the Bay Area provided Kahlo and Rivera a platform to create and thrive, the couple also gave San Francisco a lasting blueprint for creativity.\u003c/p>\n\u003cp>“In fact, Coit Tower and the murals there emerge because of Diego’s influence,” says Stahr. Some of the Coit Tower muralists actually trained under Rivera, following in his footsteps by painting large-scale fresco murals that focus on workers and class issues.\u003c/p>\n\u003cp>His work also emboldened muralists at the \u003ca href=\"https://www.atlasobscura.com/places/beach-chalet-wpa-murals\">Beach Chalet\u003c/a> and \u003ca href=\"https://www.foundsf.org/index.php?title=UCSF%27s_Depression-Era_Medical_History_Murals\">UCSF\u003c/a>. Ultimately, his patron’s desire for a mural movement to take off in San Francisco came to fruition.\u003c/p>\n\u003cfigure id=\"attachment_11848992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848992 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-160x233.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut.jpg 941w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Starting in the 1970s, exhibits and events at La Galería de la Raza in the Mission District helped generate interest and appreciation for Kahlo’s life. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahlo’s body of work also had a monumental impact on Bay Area artists, starting in the 1970s.\u003c/p>\n\u003cp>As many Chicanos and Latinos continued the fight for civil rights and representation, local artists like \u003ca href=\"https://en.wikipedia.org/wiki/Amalia_Mesa-Bains\">Amalia Mesa-Bains\u003c/a> turned to Kahlo and Rivera’s art as a source of empowerment and cultural pride.\u003c/p>\n\u003cp>“We had experienced racism and discrimination and so we needed to reclaim our sense of belonging. Frida and Diego became in many ways models for us, that an artist could be at the same time political and cultural,” says Mesa-Bains.\u003c/p>\n\u003cfigure id=\"attachment_11848993\" class=\"wp-caption alignright\" style=\"max-width: 328px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848993\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg\" alt=\"\" width=\"328\" height=\"429\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut.jpg 791w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Rupert Garcia for the seminal 1978 exhibition. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mesa-Bains and other Chicana/o artists were so moved by Kahlo’s complicated and bold art that they curated an exhibition called “Homenaje a Frida Kahlo” at the\u003ca href=\"http://www.galeriadelaraza.org/\"> Galería de la Raza\u003c/a> in 1978.\u003c/p>\n\u003cp>Artists created works inspired by Kahlo and those who personally knew the couple in San Francisco, such as \u003ca href=\"https://en.wikipedia.org/wiki/Emmy_Lou_Packard\">Emmy Lou Packard\u003c/a>, were invited to share memories of them.\u003c/p>\n\u003cp>This exhibit came at a time when there was very little published about Kahlo’s life and work, so it was seminal to introducing Kahlo to a wider audience before Frida-mania ensued.\u003c/p>\n\u003cp>Today, local artists continue to pay tribute to the two Mexican artists. Rio Yañez’s series, “\u003ca href=\"https://www.flickr.com/photos/elrio/sets/72157594566662293/\">Ghetto Frida\u003c/a>,” imagines Kahlo as a sort of comic book character hanging out at various spots in the pre-gentrified Mission District. And the political ethos of street art in the Bay hearkens back to Rivera’s masterpieces.\u003c/p>\n\u003cp>In 2018, San Francisco city officials renamed a street after Frida Kahlo in front of City College of San Francisco’s main campus, also the permanent home of Diego Rivera’s “\u003ca href=\"https://riveramural.org/\">Pan American Unity” mural\u003c/a>.\u003c/p>\n\u003cp>In what Kahlo called the “city of the world” the lasting brush strokes of Mexico’s most known artists are as vibrant as ever.\u003c/p>\n\u003cfigure id=\"attachment_11848991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848991 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1536x1229.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2009, Rio Yañez created Ghetto Frida’s ‘Mission Memories’ to pay tribute to the iconic artist and favorite spots growing up in the Mission district. \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The translated quotes from Kahlo’s letters to her family that appear in this article have been sourced from Celia Stahr’s book, “\u003ca href=\"https://us.macmillan.com/books/9781250113399\">Frida in America: The Creative Awakening of a Great Artist\u003c/a>.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>* Letter to Kahlos’s friend appears in Frida by Frida collected by Raquel Tibol\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco","authors":["11528"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_1438","news_27626","news_23679","news_5270","news_1247","news_1279"],"featImg":"news_11849393","label":"source_news_11848986"},"news_11832947":{"type":"posts","id":"news_11832947","meta":{"index":"posts_1591205157","site":"news","id":"11832947","score":null,"sort":[1597192436000]},"guestAuthors":[],"slug":"housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis","title":"'Housing Black': Tenderloin Mural Spotlights Black San Francisco's Housing Crisis","publishDate":1597192436,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>Black leaders, housing advocates and community members in San Francisco painted “Housing Black\" in giant yellow lettering across a Tenderloin neighborhood block on Monday to raise awareness about the need for long-term investments in housing for the city's Black residents.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://hsh.sfgov.org/wp-content/uploads/2020/01/2019HIRDReport_SanFrancisco_FinalDraft-1.pdf\">2019 San Francisco Homeless Count and Survey\u003c/a>, Black residents make up 37% of those who are experiencing homelessness, but comprise only 6% of the city's overall population. Del Seymour, co-chair of the Local Homeless Coordinating Board at City Hall and director of \u003ca href=\"https://www.codetenderloin.org\">Code Tenderloin\u003c/a>, said that disproportion is even greater in the Tenderloin.\u003c/p>\n\u003cp>\"You all need to know the Tenderloin is a Black community. Walk down Turk and Taylor. Walk down Market Street. Walk down Ellis. Peep inside St. Anthony's. This is a Black community and we need to be housed,\" said Seymour, speaking at the mural painting.\u003c/p>\n\u003cfigure id=\"attachment_11832953\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832953\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del Seymour poses for a portrait during a mural installation on Golden Gate Avenue in the Tenderloin on Aug. 10, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Due to lack of affordable housing and climbing eviction rates, \u003ca href=\"https://www.kqed.org/news/11829316/the-hidden-toll-of-californias-black-exodus\">Black renters have been disproportionately forced out\u003c/a> of cities across California — including a decline of 43% of the population of San Francisco's Black residents since 1990.\u003c/p>\n\u003cp>“Let’s recognize the large number of unhoused Black people navigating and residing in the Tenderloin, and let’s hurry up and house these people with dignity,\" Seymour said. \"This housing crisis is very rampant for Black people all throughout San Francisco and all across America. We got Black families living in tents, cars and shelters.\"\u003c/p>\n\u003cfigure id=\"attachment_11832950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832950\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paint rollers lay on a mural on Golden Gate Avenue in the Tenderloin. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11832952\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832952\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A team of volunteers help artist Malik Seneferu to paint yellow block letters that spell 'Housing Black.' \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Malik Seneferu worked with a team of community members to create the mural outside of St. Anthony's Foundation during its lunch service. The mural is 250 feet long and 30 feet wide, covering the 100 block of Golden Gate Avenue.\u003c/p>\n\u003cp>Seneferu — who experienced homelessness as a child living in the Tenderloin — has created several murals in a similar style around the Bay Area during the summer. “This communal discourse is a great way to have our voices heard,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11832995\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832995\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Malik Seneferu speaks during the mural installation on Golden Gate Avenue in the Tenderloin on Aug. 10, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11832963\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832963\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Malik Seneferu works with a team of volunteers to paint a mural in the Tenderloin. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11832948\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832948\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 'Housing Black' mural spans an entire block of Golden Gate Avenue. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Tuesday, District 6 Supervisor Matt Haney and District 10 Supervisor Shamann Walton plan to propose a resolution to the Board of Supervisors that acknowledges housing inequities for Black residents in the city, declaring anti-Black racism as a human rights and public health crisis. The proposal aims to dismantle institutionalized anti-Black racism by working alongside and centering the Black community.\u003c/p>\n\u003cp>\"You cannot have a society that values Black people if you leave them out on our streets and our sidewalks,\" Haney said at the mural installation.\u003c/p>\n\u003cp>\"And if you walk around this neighborhood, what you'll see is a society that has taken a wrong turn, that has left out far too many of our brothers and sisters and siblings on the street without a place to shelter during a pandemic.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>KQED's Tara Siler contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Black leaders, housing advocates and community members painted 'HOUSING BLACK' across a Tenderloin block to stress the need to invest in housing for the city's Black residents.","status":"publish","parent":0,"modified":1597195134,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":591},"headData":{"title":"'Housing Black': Tenderloin Mural Spotlights Black San Francisco's Housing Crisis | KQED","description":"Black leaders, housing advocates and community members painted 'HOUSING BLACK' across a Tenderloin block to stress the need to invest in housing for the city's Black residents.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Housing Black': Tenderloin Mural Spotlights Black San Francisco's Housing Crisis","datePublished":"2020-08-12T00:33:56.000Z","dateModified":"2020-08-12T01:18:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11832947 https://ww2.kqed.org/news/?p=11832947","disqusUrl":"https://ww2.kqed.org/news/2020/08/11/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis/","disqusTitle":"'Housing Black': Tenderloin Mural Spotlights Black San Francisco's Housing Crisis","path":"/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black leaders, housing advocates and community members in San Francisco painted “Housing Black\" in giant yellow lettering across a Tenderloin neighborhood block on Monday to raise awareness about the need for long-term investments in housing for the city's Black residents.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://hsh.sfgov.org/wp-content/uploads/2020/01/2019HIRDReport_SanFrancisco_FinalDraft-1.pdf\">2019 San Francisco Homeless Count and Survey\u003c/a>, Black residents make up 37% of those who are experiencing homelessness, but comprise only 6% of the city's overall population. Del Seymour, co-chair of the Local Homeless Coordinating Board at City Hall and director of \u003ca href=\"https://www.codetenderloin.org\">Code Tenderloin\u003c/a>, said that disproportion is even greater in the Tenderloin.\u003c/p>\n\u003cp>\"You all need to know the Tenderloin is a Black community. Walk down Turk and Taylor. Walk down Market Street. Walk down Ellis. Peep inside St. Anthony's. This is a Black community and we need to be housed,\" said Seymour, speaking at the mural painting.\u003c/p>\n\u003cfigure id=\"attachment_11832953\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832953\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44332_025_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Del Seymour poses for a portrait during a mural installation on Golden Gate Avenue in the Tenderloin on Aug. 10, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Due to lack of affordable housing and climbing eviction rates, \u003ca href=\"https://www.kqed.org/news/11829316/the-hidden-toll-of-californias-black-exodus\">Black renters have been disproportionately forced out\u003c/a> of cities across California — including a decline of 43% of the population of San Francisco's Black residents since 1990.\u003c/p>\n\u003cp>“Let’s recognize the large number of unhoused Black people navigating and residing in the Tenderloin, and let’s hurry up and house these people with dignity,\" Seymour said. \"This housing crisis is very rampant for Black people all throughout San Francisco and all across America. We got Black families living in tents, cars and shelters.\"\u003c/p>\n\u003cfigure id=\"attachment_11832950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832950\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44331_024_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paint rollers lay on a mural on Golden Gate Avenue in the Tenderloin. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11832952\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832952\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44323_016_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A team of volunteers help artist Malik Seneferu to paint yellow block letters that spell 'Housing Black.' \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Malik Seneferu worked with a team of community members to create the mural outside of St. Anthony's Foundation during its lunch service. The mural is 250 feet long and 30 feet wide, covering the 100 block of Golden Gate Avenue.\u003c/p>\n\u003cp>Seneferu — who experienced homelessness as a child living in the Tenderloin — has created several murals in a similar style around the Bay Area during the summer. “This communal discourse is a great way to have our voices heard,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11832995\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832995\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44322_015_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Malik Seneferu speaks during the mural installation on Golden Gate Avenue in the Tenderloin on Aug. 10, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11832963\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832963\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44326_019_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Malik Seneferu works with a team of volunteers to paint a mural in the Tenderloin. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11832948\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11832948\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44329_022_KQED_SanFrancisco_HousingBlackMural_08102020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 'Housing Black' mural spans an entire block of Golden Gate Avenue. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Tuesday, District 6 Supervisor Matt Haney and District 10 Supervisor Shamann Walton plan to propose a resolution to the Board of Supervisors that acknowledges housing inequities for Black residents in the city, declaring anti-Black racism as a human rights and public health crisis. The proposal aims to dismantle institutionalized anti-Black racism by working alongside and centering the Black community.\u003c/p>\n\u003cp>\"You cannot have a society that values Black people if you leave them out on our streets and our sidewalks,\" Haney said at the mural installation.\u003c/p>\n\u003cp>\"And if you walk around this neighborhood, what you'll see is a society that has taken a wrong turn, that has left out far too many of our brothers and sisters and siblings on the street without a place to shelter during a pandemic.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED's Tara Siler contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis","authors":["11367","11667"],"categories":["news_223","news_6266","news_8"],"tags":["news_3921","news_4020","news_1775","news_1247","news_3181"],"featImg":"news_11832951","label":"news"},"news_11826164":{"type":"posts","id":"news_11826164","meta":{"index":"posts_1591205157","site":"news","id":"11826164","score":null,"sort":[1593263147000]},"guestAuthors":[],"slug":"whats-next-for-black-lives-matter-murals-in-downtown-san-jose","title":"What's Next for Black Lives Matter Murals in Downtown San Jose?","publishDate":1593263147,"format":"standard","headTitle":"KQED News","labelTerm":{},"content":"\u003cp>During the Black Lives Matter protests, numerous businesses covered their windows with plywood to protect against potential vandalism. San Jose State student Miko Baker saw that plywood as a blank canvas.\u003c/p>\n\u003cp>She contacted the Latino-owned, local franchise of \u003ca href=\"https://www.cinnaholic.com\" target=\"_blank\" rel=\"noopener noreferrer\">Cinnaholic\u003c/a> to ask if they'd be open to an artist putting up a mural.\u003c/p>\n\u003cp>\"I just messaged them on Instagram, nothing super formal, just like, 'Hey! Can I come paint your shop and help you out?' And they were like, 'Sure,'\" Baker said.\u003c/p>\n\u003cp>In a similar fashion, artists from all over San Jose volunteered to paint murals in solidarity with the protests. \"Instead of us reaching out to shops, they were reaching out to us,\" Baker said.\u003c/p>\n\u003cp>She soon turned her community project into \u003ca href=\"https://www.storiesforsolidarity.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stories for Solidarity\u003c/a>, originally called \u003ca href=\"https://www.instagram.com/storefrontstories_original/\" target=\"_blank\" rel=\"noopener noreferrer\">Storefront Stories\u003c/a>, an organization linking businesses and local artists to collaborate on mural projects. Baker is still filling out paperwork to become an official nonprofit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the meantime, she's also organized mural projects with artists in \u003ca href=\"https://www.instagram.com/storefrontstoriessac/\" target=\"_blank\" rel=\"noopener noreferrer\">Sacramento\u003c/a>, and begun talking with artists in Redwood City, Oakland and Bakersfield to start similar movements in their communities.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/vagueidea/\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew \"Andy\" Gonzales\u003c/a> painted a mural outside of Philz Coffee, a background of blue featuring a quote from Jamaican activist Marcus Garvey.\u003c/p>\n\u003cfigure id=\"attachment_11826304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11826304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-800x600.jpeg\" alt='Andrew \"Andy\" Gonzales was one of the first artists to paint a mural in downtown San Jose as part of the \"Stories for Solidarity\" project. He painted a quote from Jamaican activist Marcus Garvey, which reads \"You at this time can only be destroyed by yourself from within and not from without. You have reached the point where victory is to be won from within and can only be lost from within.\" It stands outside Philz Coffee in downtown San Jose. ' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-632x474.jpeg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-536x402.jpeg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew \"Andy\" Gonzales was one of the first artists to paint a mural in downtown San Jose as part of the \"Stories for Solidarity\" project. He painted a quote from Jamaican activist Marcus Garvey, which can be seen outside Philz Coffee in downtown San Jose. \u003ccite>(Courtesy of Miko Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzales said he can't afford therapy, so he paints to grapple with his emotions and stress. \"All this stuff I have inside of me — there it goes. Lemme put it on a wall,\" he said.\u003c/p>\n\u003cp>Gonzales reached out to other artists in the South Bay to contribute to the murals around downtown. He feels this movement gave many non-white, male artists a platform they didn't have before. [aside tag=\"racism\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>\"I wanted to get a lot of female artists, a lot of Black and brown artists out there, just doing their thing, just to shine some light on them\" Gonzales said. \"We might be underrepresented in the art community, at least as far as public art and galleries.\"\u003c/p>\n\u003cp>But now that stores are starting to reopen, the plywood boards are coming down. Cinnaholic liked their mural so much, it is moving the mural inside the bakery for display. Other stores are auctioning the pieces and giving the proceeds back to the artist.\u003c/p>\n\u003cp>\"Or [the artist] can donate it to our organization where we can, hopefully, get an event space,\" Baker said. Baker would like to see the art be displayed in galleries for everyone to be able to see this aspect of San Jose history.\u003c/p>\n\u003cp>Gonzales doesn't know what will happen to his art, but he's not attached to it. He thinks of it like the Tibetan Buddhist mandalas made out of sand.\u003c/p>\n\u003cp>\"These Buddhist monks spend hours, days just to create a beautiful piece of art out of sand and then, once it's done, they just destroy it,\" Gonzales said. \"The act of creating the art was the art itself.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the end of the summer, Gonzales and Baker are hoping to have a barbecue with the artists who participated in the mural project and showcase their work in an outdoor exhibition.\u003c/p>\n\n","blocks":[],"excerpt":"Now that downtown San Jose businesses are starting to reopen, art painted on plywood has to come down. ","status":"publish","parent":0,"modified":1593466982,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":574},"headData":{"title":"What's Next for Black Lives Matter Murals in Downtown San Jose? | KQED","description":"Now that downtown San Jose businesses are starting to reopen, art painted on plywood has to come down. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"What's Next for Black Lives Matter Murals in Downtown San Jose?","datePublished":"2020-06-27T13:05:47.000Z","dateModified":"2020-06-29T21:43:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11826164 https://ww2.kqed.org/news/?p=11826164","disqusUrl":"https://ww2.kqed.org/news/2020/06/27/whats-next-for-black-lives-matter-murals-in-downtown-san-jose/","disqusTitle":"What's Next for Black Lives Matter Murals in Downtown San Jose?","source":"News","sourceUrl":"https://www.kqed.org/","path":"/news/11826164/whats-next-for-black-lives-matter-murals-in-downtown-san-jose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Black Lives Matter protests, numerous businesses covered their windows with plywood to protect against potential vandalism. San Jose State student Miko Baker saw that plywood as a blank canvas.\u003c/p>\n\u003cp>She contacted the Latino-owned, local franchise of \u003ca href=\"https://www.cinnaholic.com\" target=\"_blank\" rel=\"noopener noreferrer\">Cinnaholic\u003c/a> to ask if they'd be open to an artist putting up a mural.\u003c/p>\n\u003cp>\"I just messaged them on Instagram, nothing super formal, just like, 'Hey! Can I come paint your shop and help you out?' And they were like, 'Sure,'\" Baker said.\u003c/p>\n\u003cp>In a similar fashion, artists from all over San Jose volunteered to paint murals in solidarity with the protests. \"Instead of us reaching out to shops, they were reaching out to us,\" Baker said.\u003c/p>\n\u003cp>She soon turned her community project into \u003ca href=\"https://www.storiesforsolidarity.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stories for Solidarity\u003c/a>, originally called \u003ca href=\"https://www.instagram.com/storefrontstories_original/\" target=\"_blank\" rel=\"noopener noreferrer\">Storefront Stories\u003c/a>, an organization linking businesses and local artists to collaborate on mural projects. Baker is still filling out paperwork to become an official nonprofit.\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>In the meantime, she's also organized mural projects with artists in \u003ca href=\"https://www.instagram.com/storefrontstoriessac/\" target=\"_blank\" rel=\"noopener noreferrer\">Sacramento\u003c/a>, and begun talking with artists in Redwood City, Oakland and Bakersfield to start similar movements in their communities.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/vagueidea/\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew \"Andy\" Gonzales\u003c/a> painted a mural outside of Philz Coffee, a background of blue featuring a quote from Jamaican activist Marcus Garvey.\u003c/p>\n\u003cfigure id=\"attachment_11826304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11826304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-800x600.jpeg\" alt='Andrew \"Andy\" Gonzales was one of the first artists to paint a mural in downtown San Jose as part of the \"Stories for Solidarity\" project. He painted a quote from Jamaican activist Marcus Garvey, which reads \"You at this time can only be destroyed by yourself from within and not from without. You have reached the point where victory is to be won from within and can only be lost from within.\" It stands outside Philz Coffee in downtown San Jose. ' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-632x474.jpeg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c-536x402.jpeg 536w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/5EFCB520-47DB-4D06-B8AD-1A1D49AB7DF8_1_105_c.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew \"Andy\" Gonzales was one of the first artists to paint a mural in downtown San Jose as part of the \"Stories for Solidarity\" project. He painted a quote from Jamaican activist Marcus Garvey, which can be seen outside Philz Coffee in downtown San Jose. \u003ccite>(Courtesy of Miko Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzales said he can't afford therapy, so he paints to grapple with his emotions and stress. \"All this stuff I have inside of me — there it goes. Lemme put it on a wall,\" he said.\u003c/p>\n\u003cp>Gonzales reached out to other artists in the South Bay to contribute to the murals around downtown. He feels this movement gave many non-white, male artists a platform they didn't have before. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"racism","label":"More Related Stories "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I wanted to get a lot of female artists, a lot of Black and brown artists out there, just doing their thing, just to shine some light on them\" Gonzales said. \"We might be underrepresented in the art community, at least as far as public art and galleries.\"\u003c/p>\n\u003cp>But now that stores are starting to reopen, the plywood boards are coming down. Cinnaholic liked their mural so much, it is moving the mural inside the bakery for display. Other stores are auctioning the pieces and giving the proceeds back to the artist.\u003c/p>\n\u003cp>\"Or [the artist] can donate it to our organization where we can, hopefully, get an event space,\" Baker said. Baker would like to see the art be displayed in galleries for everyone to be able to see this aspect of San Jose history.\u003c/p>\n\u003cp>Gonzales doesn't know what will happen to his art, but he's not attached to it. He thinks of it like the Tibetan Buddhist mandalas made out of sand.\u003c/p>\n\u003cp>\"These Buddhist monks spend hours, days just to create a beautiful piece of art out of sand and then, once it's done, they just destroy it,\" Gonzales said. \"The act of creating the art was the art itself.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the end of the summer, Gonzales and Baker are hoping to have a barbecue with the artists who participated in the mural project and showcase their work in an outdoor exhibition.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11826164/whats-next-for-black-lives-matter-murals-in-downtown-san-jose","authors":["11672"],"categories":["news_223","news_8"],"tags":["news_27510","news_19133","news_19971","news_27626","news_1247","news_28109","news_21181","news_18541","news_21285"],"featImg":"news_11826446","label":"source_news_11826164"},"news_11824073":{"type":"posts","id":"news_11824073","meta":{"index":"posts_1591205157","site":"news","id":"11824073","score":null,"sort":[1592006603000]},"guestAuthors":[],"slug":"oakland-muralists-honor-victims-of-police-violence-even-as-police-take-their-paint","title":"Oakland Muralists Honor Victims of Police Violence – Even as Police Take Their Paint","publishDate":1592006603,"format":"audio","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>A group of artists was busy outlining a massive yellow Black Lives Matter mural covering three blocks in downtown Oakland last Saturday night, when their work was suddenly interrupted.\u003c/p>\n\u003cp>According to Oakland's \u003ca href=\"https://www.oaklandca.gov/boards-commissions/cultural-affairs-commission\" target=\"_blank\" rel=\"noopener noreferrer\">Cultural Affairs Commission\u003c/a>, the artists had the city’s permission to be there. But that didn't stop police officers from taking the artists' painting materials.\u003c/p>\n\u003cfigure id=\"attachment_11824108\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11824108 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A massive, three-block-long Black Lives Matter mural in downtown Oakland was interrupted when police took away the artists' painting supplies. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I swear to God, blood, we just got robbed by the police!\" said artist \u003ca href=\"https://www.instagram.com/splashgangoriginal/\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Ehieze\u003c/a> in an \u003ca href=\"https://www.instagram.com/p/CBHtsOLB2hd/?igshid=v539sn9begfw\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram video\u003c/a> capturing the incident.\u003c/p>\n\u003cp>Downtown Oakland has become an open-air art gallery this past week, as muralists share powerful visual messages in support of Black Lives Matter — even in the face of this disruption.\u003c/p>\n\u003cp>A few days later, Ehieze stood at the corner of 15th and Franklin Street where it happened. Ehieze said they were just starting on the “V” in the word “Lives” when an unmarked white van pulled up in the crosswalk.\u003c/p>\n\u003cp>\"I see 10 police officers jump out the van, grab the poles, the paint, the buckets,\" he told KQED. \"And they start scrambling back to the van.\"\u003c/p>\n\u003cp>Ehieze said they eventually got their supplies back from the local police station and were able to finish the mural. The officers’ behavior left Ehieze with all-too-familiar feelings of frustration and rage.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Brandon Ehieze\"]'We felt like it was family. Because everybody that came out, came out for the same purpose.' [/pullquote]\u003c/p>\n\u003cp>\"They were acting like rioters,\" he said. \"They were the looters that night. Not us.\"\u003c/p>\n\u003cp>The \u003ca href=\"https://www.oaklandca.gov/departments/police\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Police Department\u003c/a> did not respond to KQED’s requests for comment, though the city's cultural affairs department said there had been some confusion around permitting, which was resolved by the next day.\u003c/p>\n\u003cp>Despite the setback, Ehieze said he was thrilled to see so many fellow artists show up for the cause armed with brushes and paint.\u003c/p>\n\u003cp>\"We called in everybody,\" he said, listing the names of many different local crews who contributed to the work, including his own cohort, Splash Gang Original.\u003c/p>\n\u003cp>Local restaurants handed out free food and Ehieze’s cousin’s band, \u003ca href=\"https://pocketstillmatters.site/\" target=\"_blank\" rel=\"noopener noreferrer\">Pocket Still Matters\u003c/a>, helped to create the party vibe.\u003c/p>\n\u003cp>\"We felt like it was family,\" Ehieze said. \"Because everybody that came out, came out for the same purpose.\"\u003c/p>\n\u003cfigure id=\"attachment_11824111\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824111\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Telegraph and Broadway in downtown Oakland is covered in new murals, as are many other walls in the area. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ehieze has been creating art in Oakland for about 10 years, so he’s well known around town. At \u003ca href=\"https://dopeera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dope Era\u003c/a>, an apparel store on Broadway, he stopped in to say hello to rapper and store owner, \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>\u003c/p>\n\u003cp>\"Man, I'm really proud of you and everything that you're doing, brother. You’re artists bringing the world together, man,\" Mistah F.A.B. told Ehieze. \"To see some authentic art being recognized in the times that we're living in, that's amazing.\"\u003c/p>\n\u003cp>Ehieze is 35 and grew up in Oakland. He goes by the moniker Jamaica the Artist, even though he has Nigerian roots.\u003c/p>\n\u003cfigure id=\"attachment_11824294\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824294\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-800x600.jpg\" alt=\"A mural in downtown Oakland depicting George Floyd, an unarmed man killed by a Minneapolis police officer who knelt on his neck for nearly 9 minutes.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural in downtown Oakland depicting George Floyd, an unarmed man killed by a Minneapolis police officer who knelt on his neck for nearly 9 minutes. The artists are on Instagram at @amendtdk @nvnovr @agentdecoy and @somarbar. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"People thought my last name was Jamaican because I had long dreadlocks,\" he said. (The artist wears his hair cropped short these days.)\u003c/p>\n\u003cp>He got his start making commemorative T-shirts for people in his community who’d lost loved ones on the streets of Oakland to violence. When Ehieze emerged from serving a three year prison sentence on charges related to a robbery and kidnapping, the artist made a commemorative artwork for Oscar Grant's mother. Ehieze said Grant, who was fatally shot by a white police officer at Fruitvale BART station in 2009, was a close childhood friend.\u003c/p>\n\u003cp>\"I felt like I was able to give my talents to the individuals who some people may have forgotten about, or not even had a chance to recognize,\" he said.\u003c/p>\n\u003cfigure id=\"attachment_11824112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural dedicated to George Floyd by artists 3Nolam and Irot. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to the new murals adorning the streets of Oakland and other cities around the world, the faces of at least some of the victims will now be hard to forget.\u003c/p>\n\u003cp>Walking around the neighborhood, Ehieze pointed out his favorite among the many portraits of George Floyd.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the artwork created by a pair of artists who go by \u003ca href=\"https://www.instagram.com/3nolam/\" target=\"_blank\" rel=\"noopener noreferrer\">3Nolam\u003c/a> and \u003ca href=\"https://www.instagram.com/irotism/\" target=\"_blank\" rel=\"noopener noreferrer\">Irot\u003c/a>, Floyd’s face, sensitive and frank, busts out through the middle of his name spelled out in chunky white and green letters.\u003c/p>\n\u003cp>\"This piece right here, I like it,\" Ehieze said. \"It gives out a lot of energy.\"\u003c/p>\n\u003cp>Ehieze also highlighted a couple of portraits depicting Breonna Taylor, another recent victim of police violence. He stopped to admire a work by \u003ca href=\"https://www.instagram.com/thepeoplesconservatory/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Conservatory\u003c/a> collective at Telegraph and Broadway. The riotously colorful image features Taylor surrounded by a crown of flowers.\u003c/p>\n\u003cfigure id=\"attachment_11824114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824114\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural depicting Breonna Taylor by The People's Conservatory collective. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I\u003cb>\u003c/b> actually watched them do this portrait right here from start to finish,\" he said. \"To see them knock that out, I was like, wow. It was beautiful.\"\u003c/p>\n\u003cp>Ehieze said art provides a non-violent way to share hard-hitting political messages. And it provides release.\u003c/p>\n\u003cp>[aside tag=\"george-floyd\" label=\"related coverage\"]\u003c/p>\n\u003cp>\"There are certain things that you just can't hold inside. Like, you know what’s right from wrong,\" he said. \"I'm going to paint what I feel.\"\u003c/p>\n\u003cp>There’s hardly a storefront in downtown Oakland that doesn’t have a mural on it at this point. Ehieze said this is just the start.\u003c/p>\n\u003cp>\"We're not just going to let a situation just come and go,\" he said. \"We're gonna keep the political artwork up. We're gonna keep the message going.\"\u003c/p>\n\u003cp>Meanwhile, Roberto Bedoya, the city of Oakland’s cultural affairs manager, said plans are afoot to conserve these artworks — and those to come.\u003c/p>\n\u003cp>\"T\u003cspan style=\"font-weight: 400\">hese murals affirm that this is a city of care,\" Bedoya said. \"And that Oaklanders have a deep sense of racial justice that enlivens our artist community and enriches our daily lives.\"\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Downtown Oakland has become an open air art gallery, as muralists share powerful visual messages in support of Black Lives Matter — even in the face of disruption.","status":"publish","parent":0,"modified":1592076112,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1101},"headData":{"title":"Oakland Muralists Honor Victims of Police Violence – Even as Police Take Their Paint | KQED","description":"Downtown Oakland has become an open air art gallery, as muralists share powerful visual messages in support of Black Lives Matter — even in the face of disruption.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Oakland Muralists Honor Victims of Police Violence – Even as Police Take Their Paint","datePublished":"2020-06-13T00:03:23.000Z","dateModified":"2020-06-13T19:21:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11824073 https://ww2.kqed.org/news/?p=11824073","disqusUrl":"https://ww2.kqed.org/news/2020/06/12/oakland-muralists-honor-victims-of-police-violence-even-as-police-take-their-paint/","disqusTitle":"Oakland Muralists Honor Victims of Police Violence – Even as Police Take Their Paint","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/4e550c41-0eff-4108-96f5-abd90042e7a6/audio.mp3","path":"/news/11824073/oakland-muralists-honor-victims-of-police-violence-even-as-police-take-their-paint","audioDuration":237000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of artists was busy outlining a massive yellow Black Lives Matter mural covering three blocks in downtown Oakland last Saturday night, when their work was suddenly interrupted.\u003c/p>\n\u003cp>According to Oakland's \u003ca href=\"https://www.oaklandca.gov/boards-commissions/cultural-affairs-commission\" target=\"_blank\" rel=\"noopener noreferrer\">Cultural Affairs Commission\u003c/a>, the artists had the city’s permission to be there. But that didn't stop police officers from taking the artists' painting materials.\u003c/p>\n\u003cfigure id=\"attachment_11824108\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11824108 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43634_mural1-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A massive, three-block-long Black Lives Matter mural in downtown Oakland was interrupted when police took away the artists' painting supplies. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I swear to God, blood, we just got robbed by the police!\" said artist \u003ca href=\"https://www.instagram.com/splashgangoriginal/\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Ehieze\u003c/a> in an \u003ca href=\"https://www.instagram.com/p/CBHtsOLB2hd/?igshid=v539sn9begfw\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram video\u003c/a> capturing the incident.\u003c/p>\n\u003cp>Downtown Oakland has become an open-air art gallery this past week, as muralists share powerful visual messages in support of Black Lives Matter — even in the face of this disruption.\u003c/p>\n\u003cp>A few days later, Ehieze stood at the corner of 15th and Franklin Street where it happened. Ehieze said they were just starting on the “V” in the word “Lives” when an unmarked white van pulled up in the crosswalk.\u003c/p>\n\u003cp>\"I see 10 police officers jump out the van, grab the poles, the paint, the buckets,\" he told KQED. \"And they start scrambling back to the van.\"\u003c/p>\n\u003cp>Ehieze said they eventually got their supplies back from the local police station and were able to finish the mural. The officers’ behavior left Ehieze with all-too-familiar feelings of frustration and rage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We felt like it was family. Because everybody that came out, came out for the same purpose.' ","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Brandon Ehieze","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"They were acting like rioters,\" he said. \"They were the looters that night. Not us.\"\u003c/p>\n\u003cp>The \u003ca href=\"https://www.oaklandca.gov/departments/police\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Police Department\u003c/a> did not respond to KQED’s requests for comment, though the city's cultural affairs department said there had been some confusion around permitting, which was resolved by the next day.\u003c/p>\n\u003cp>Despite the setback, Ehieze said he was thrilled to see so many fellow artists show up for the cause armed with brushes and paint.\u003c/p>\n\u003cp>\"We called in everybody,\" he said, listing the names of many different local crews who contributed to the work, including his own cohort, Splash Gang Original.\u003c/p>\n\u003cp>Local restaurants handed out free food and Ehieze’s cousin’s band, \u003ca href=\"https://pocketstillmatters.site/\" target=\"_blank\" rel=\"noopener noreferrer\">Pocket Still Matters\u003c/a>, helped to create the party vibe.\u003c/p>\n\u003cp>\"We felt like it was family,\" Ehieze said. \"Because everybody that came out, came out for the same purpose.\"\u003c/p>\n\u003cfigure id=\"attachment_11824111\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824111\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43631_corner-in-oakland-with-murals-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The corner of Telegraph and Broadway in downtown Oakland is covered in new murals, as are many other walls in the area. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ehieze has been creating art in Oakland for about 10 years, so he’s well known around town. At \u003ca href=\"https://dopeera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dope Era\u003c/a>, an apparel store on Broadway, he stopped in to say hello to rapper and store owner, \u003ca href=\"https://www.instagram.com/fabbydavisjr1/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>\u003c/p>\n\u003cp>\"Man, I'm really proud of you and everything that you're doing, brother. You’re artists bringing the world together, man,\" Mistah F.A.B. told Ehieze. \"To see some authentic art being recognized in the times that we're living in, that's amazing.\"\u003c/p>\n\u003cp>Ehieze is 35 and grew up in Oakland. He goes by the moniker Jamaica the Artist, even though he has Nigerian roots.\u003c/p>\n\u003cfigure id=\"attachment_11824294\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824294\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-800x600.jpg\" alt=\"A mural in downtown Oakland depicting George Floyd, an unarmed man killed by a Minneapolis police officer who knelt on his neck for nearly 9 minutes.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43651_mural5-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural in downtown Oakland depicting George Floyd, an unarmed man killed by a Minneapolis police officer who knelt on his neck for nearly 9 minutes. The artists are on Instagram at @amendtdk @nvnovr @agentdecoy and @somarbar. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"People thought my last name was Jamaican because I had long dreadlocks,\" he said. (The artist wears his hair cropped short these days.)\u003c/p>\n\u003cp>He got his start making commemorative T-shirts for people in his community who’d lost loved ones on the streets of Oakland to violence. When Ehieze emerged from serving a three year prison sentence on charges related to a robbery and kidnapping, the artist made a commemorative artwork for Oscar Grant's mother. Ehieze said Grant, who was fatally shot by a white police officer at Fruitvale BART station in 2009, was a close childhood friend.\u003c/p>\n\u003cp>\"I felt like I was able to give my talents to the individuals who some people may have forgotten about, or not even had a chance to recognize,\" he said.\u003c/p>\n\u003cfigure id=\"attachment_11824112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43636_mural3-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural dedicated to George Floyd by artists 3Nolam and Irot. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to the new murals adorning the streets of Oakland and other cities around the world, the faces of at least some of the victims will now be hard to forget.\u003c/p>\n\u003cp>Walking around the neighborhood, Ehieze pointed out his favorite among the many portraits of George Floyd.\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>In the artwork created by a pair of artists who go by \u003ca href=\"https://www.instagram.com/3nolam/\" target=\"_blank\" rel=\"noopener noreferrer\">3Nolam\u003c/a> and \u003ca href=\"https://www.instagram.com/irotism/\" target=\"_blank\" rel=\"noopener noreferrer\">Irot\u003c/a>, Floyd’s face, sensitive and frank, busts out through the middle of his name spelled out in chunky white and green letters.\u003c/p>\n\u003cp>\"This piece right here, I like it,\" Ehieze said. \"It gives out a lot of energy.\"\u003c/p>\n\u003cp>Ehieze also highlighted a couple of portraits depicting Breonna Taylor, another recent victim of police violence. He stopped to admire a work by \u003ca href=\"https://www.instagram.com/thepeoplesconservatory/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Conservatory\u003c/a> collective at Telegraph and Broadway. The riotously colorful image features Taylor surrounded by a crown of flowers.\u003c/p>\n\u003cfigure id=\"attachment_11824114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11824114\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43635_mural2-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural depicting Breonna Taylor by The People's Conservatory collective. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I\u003cb>\u003c/b> actually watched them do this portrait right here from start to finish,\" he said. \"To see them knock that out, I was like, wow. It was beautiful.\"\u003c/p>\n\u003cp>Ehieze said art provides a non-violent way to share hard-hitting political messages. And it provides release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"george-floyd","label":"related coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"There are certain things that you just can't hold inside. Like, you know what’s right from wrong,\" he said. \"I'm going to paint what I feel.\"\u003c/p>\n\u003cp>There’s hardly a storefront in downtown Oakland that doesn’t have a mural on it at this point. Ehieze said this is just the start.\u003c/p>\n\u003cp>\"We're not just going to let a situation just come and go,\" he said. \"We're gonna keep the political artwork up. We're gonna keep the message going.\"\u003c/p>\n\u003cp>Meanwhile, Roberto Bedoya, the city of Oakland’s cultural affairs manager, said plans are afoot to conserve these artworks — and those to come.\u003c/p>\n\u003cp>\"T\u003cspan style=\"font-weight: 400\">hese murals affirm that this is a city of care,\" Bedoya said. \"And that Oaklanders have a deep sense of racial justice that enlivens our artist community and enriches our daily lives.\"\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11824073/oakland-muralists-honor-victims-of-police-violence-even-as-police-take-their-paint","authors":["8608"],"categories":["news_223","news_6188","news_8"],"tags":["news_28067","news_27626","news_28031","news_1247","news_18","news_18046","news_20625","news_745","news_19216"],"featImg":"news_11824293","label":"news"},"news_11767973":{"type":"posts","id":"news_11767973","meta":{"index":"posts_1591205157","site":"news","id":"11767973","score":null,"sort":[1565998659000]},"guestAuthors":[],"slug":"climate-change-lawsuits-controversial-mural-assemblymember-phil-ting","title":"Climate Change Lawsuits, Controversial Mural, Assemblymember Phil Ting","publishDate":1565998659,"format":"video","headTitle":"KQED Newsroom | KQED News","labelTerm":{"term":7052,"site":"news"},"content":"\u003cp>\u003cb>Trump Administration Threatens Endangered Species\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The U.S. Department of Interior announced major revisions to the nation's premier wildlife conservation law, which is credited with bringing back the bald eagle and grizzly bears, among other species. \u003c/span>\u003cspan style=\"font-weight: 400\">The Trump administration says it’s a necessary change to balance economic considerations with the law’s intent to protect endangered wildlife. But science experts say that the new revisions could threaten the already 1 million plant and animal species that are already endangered. California Attorney General Xavier Becerra joined Massachusetts Attorney General Maura Healey in suing the Trump administration over the new changes. The next day California joined 29 states and cities in a lawsuit against another Trump roll-back of environmental regulations the Obama era restrictions on coal-burning power plants. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Kevin Stark, reporter, KQED Science\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Kammen, energy professor, UC Berkeley \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Controversial Mural-Voted to be Hidden not Destroyed\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The San Francisco Unified District School Board voted this week to hide and not destroy the controversial mural at George Washington High School. The mural depicts George Washington’s slaves and white settlers stepping over a dead Native American. In June, the school board was leaning towards painting over the mural. The controversial paintings has caused national uproar, while those against the mural say the images are offensive and should not be seen by students every day and those who are for the mural say there must be preservation of history and art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Chloe Veltman, arts & culture reporter, KQED News\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Arianna Antone-Ramirez\u003c/span>\u003cb>, \u003c/b>\u003cspan style=\"font-weight: 400\">board member, American Indian Cultural Center \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Facial Recognition Matching Lawmakers with Mugshots\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, the American Civil Liberties Union revealed that it had ran a test on Amazon’s recognition software. 120 legislators had their faces ran through a public database of 25,000 suspect mugshots, resulting in 26 false matches. Assemblymember Phil Ting was one of the legislators misidentified in the first round of testing. Ting is among the California lawmakers \u003c/span>\u003cspan style=\"font-weight: 400\">calling for a ban on the use of facial recognition software in body-worn police cameras, warning that embracing such technology could put lives at risk. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Phil Ting, Assemblymember, D-San Francisco\u003c/span>\u003c/li>\n\u003c/ul>\n\n","blocks":[],"excerpt":"The state of California is at odds with the Trump administration on key environmental regulations including climate change and endangered species.","status":"publish","parent":0,"modified":1565998659,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":376},"headData":{"title":"Climate Change Lawsuits, Controversial Mural, Assemblymember Phil Ting | KQED","description":"The state of California is at odds with the Trump administration on key environmental regulations including climate change and endangered species.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Climate Change Lawsuits, Controversial Mural, Assemblymember Phil Ting","datePublished":"2019-08-16T23:37:39.000Z","dateModified":"2019-08-16T23:37:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11767973 https://ww2.kqed.org/news/?p=11767973","disqusUrl":"https://ww2.kqed.org/news/2019/08/16/climate-change-lawsuits-controversial-mural-assemblymember-phil-ting/","disqusTitle":"Climate Change Lawsuits, Controversial Mural, Assemblymember Phil Ting","videoEmbed":"https://youtu.be/Pv0ojFs387w","path":"/news/11767973/climate-change-lawsuits-controversial-mural-assemblymember-phil-ting","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Trump Administration Threatens Endangered Species\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The U.S. Department of Interior announced major revisions to the nation's premier wildlife conservation law, which is credited with bringing back the bald eagle and grizzly bears, among other species. \u003c/span>\u003cspan style=\"font-weight: 400\">The Trump administration says it’s a necessary change to balance economic considerations with the law’s intent to protect endangered wildlife. But science experts say that the new revisions could threaten the already 1 million plant and animal species that are already endangered. California Attorney General Xavier Becerra joined Massachusetts Attorney General Maura Healey in suing the Trump administration over the new changes. The next day California joined 29 states and cities in a lawsuit against another Trump roll-back of environmental regulations the Obama era restrictions on coal-burning power plants. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Kevin Stark, reporter, KQED Science\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Kammen, energy professor, UC Berkeley \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Controversial Mural-Voted to be Hidden not Destroyed\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The San Francisco Unified District School Board voted this week to hide and not destroy the controversial mural at George Washington High School. The mural depicts George Washington’s slaves and white settlers stepping over a dead Native American. In June, the school board was leaning towards painting over the mural. The controversial paintings has caused national uproar, while those against the mural say the images are offensive and should not be seen by students every day and those who are for the mural say there must be preservation of history and art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Chloe Veltman, arts & culture reporter, KQED News\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Arianna Antone-Ramirez\u003c/span>\u003cb>, \u003c/b>\u003cspan style=\"font-weight: 400\">board member, American Indian Cultural Center \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Facial Recognition Matching Lawmakers with Mugshots\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, the American Civil Liberties Union revealed that it had ran a test on Amazon’s recognition software. 120 legislators had their faces ran through a public database of 25,000 suspect mugshots, resulting in 26 false matches. Assemblymember Phil Ting was one of the legislators misidentified in the first round of testing. Ting is among the California lawmakers \u003c/span>\u003cspan style=\"font-weight: 400\">calling for a ban on the use of facial recognition software in body-worn police cameras, warning that embracing such technology could put lives at risk. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Phil Ting, Assemblymember, D-San Francisco\u003c/span>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11767973/climate-change-lawsuits-controversial-mural-assemblymember-phil-ting","authors":["236"],"programs":["news_7052"],"categories":["news_223","news_18540","news_19906","news_6188","news_8","news_13","news_356","news_248"],"tags":["news_25403","news_26437","news_23778","news_26433","news_1848","news_23800","news_26343","news_20297","news_19177","news_1247","news_20452"],"featImg":"news_11768074","label":"news_7052"},"news_11767596":{"type":"posts","id":"news_11767596","meta":{"index":"posts_1591205157","site":"news","id":"11767596","score":null,"sort":[1565822572000]},"guestAuthors":[],"slug":"a-change-of-heart-for-history","title":"A Change of Heart for History","publishDate":1565822572,"format":"standard","headTitle":"Mark Fiore: Drawn to the Bay | KQED News","labelTerm":{"term":18515,"site":"news"},"content":"\u003cp>Members of the San Francisco Unified School District board had a \u003ca href=\"http://bit.ly/fioresfmuralsaved\" target=\"_blank\" rel=\"noopener\">change of heart\u003c/a> and decided to NOT destroy the controversial mural at George Washington High School.\u003c/p>\n\u003cp>WPA-era muralist Victor Arnautoff's \"Life of Washington\" has stirred controversy because it depicts slaves working for George Washington and a dead Native American in a subversive nod to actual U.S. history.\u003c/p>\n\u003cp>The mural will be covered with panels instead of being \u003ca href=\"https://www.kqed.org/news/11765240/whitewashing-a-painful-history\" target=\"_blank\" rel=\"noopener\">completely painted over\u003c/a> as the Board had voted to do in a unanimous vote in June.\u003c/p>\n\u003cp>Let's keep the subversion intact, I say.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Members of the San Francisco Unified School District board had a change of heart and decided to NOT destroy the controversial mural at George Washington High School.","status":"publish","parent":0,"modified":1565822572,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":98},"headData":{"title":"A Change of Heart for History | KQED","description":"Members of the San Francisco Unified School District board had a change of heart and decided to NOT destroy the controversial mural at George Washington High School.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"A Change of Heart for History","datePublished":"2019-08-14T22:42:52.000Z","dateModified":"2019-08-14T22:42:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11767596 https://ww2.kqed.org/news/?p=11767596","disqusUrl":"https://ww2.kqed.org/news/2019/08/14/a-change-of-heart-for-history/","disqusTitle":"A Change of Heart for History","path":"/news/11767596/a-change-of-heart-for-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Members of the San Francisco Unified School District board had a \u003ca href=\"http://bit.ly/fioresfmuralsaved\" target=\"_blank\" rel=\"noopener\">change of heart\u003c/a> and decided to NOT destroy the controversial mural at George Washington High School.\u003c/p>\n\u003cp>WPA-era muralist Victor Arnautoff's \"Life of Washington\" has stirred controversy because it depicts slaves working for George Washington and a dead Native American in a subversive nod to actual U.S. history.\u003c/p>\n\u003cp>The mural will be covered with panels instead of being \u003ca href=\"https://www.kqed.org/news/11765240/whitewashing-a-painful-history\" target=\"_blank\" rel=\"noopener\">completely painted over\u003c/a> as the Board had voted to do in a unanimous vote in June.\u003c/p>\n\u003cp>Let's keep the subversion intact, I say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11767596/a-change-of-heart-for-history","authors":["3236"],"series":["news_18515"],"categories":["news_223","news_18540","news_8","news_13"],"tags":["news_26343","news_26344","news_20949","news_1247","news_22493","news_26342"],"featImg":"news_11767606","label":"news_18515"},"news_11767493":{"type":"posts","id":"news_11767493","meta":{"index":"posts_1591205157","site":"news","id":"11767493","score":null,"sort":[1565802067000]},"guestAuthors":[],"slug":"s-f-school-board-votes-to-cover-controversial-mural-instead-of-painting-over-it","title":"S.F. School Board Votes to Cover Controversial Mural Instead of Painting Over It","publishDate":1565802067,"format":"audio","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>A controversial mural at a San Francisco high school is not going away quite yet after the San Francisco Unified School District's board reversed an earlier decision to paint over the mural in a 4-3 vote Tuesday night. \u003c/p>\n\u003cp>[aside postID=\"news_11765093\" label=\"Related Coverage\"]\u003c/p>\n\u003cp>The SFUSD Board meeting was packed, with attendees voicing opinions on the 13-panel mural at George Washington High School. At times things became heated with boos and shouting.\u003c/p>\n\u003cp>The 1,600 square-foot \"Life of Washington\" was painted by Victor Arnautoff in 1936, and depicts scenes from Washington’s life. One of the panels features Washington directing white men westward over the body of an apparently slain Native American. Another shows Washington among his slaves at Mount Vernon.\u003c/p>\n\u003cp>In June, the Board \u003ca href=\"https://www.kqed.org/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural\" rel=\"noopener\" target=\"_blank\">voted to paint over the mural\u003c/a>. But SFUSD Board President Stevon Cook decided there should be another vote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"After hearing much more input from the public and a lot of sentiment around destroying the art, I decided to bring the item back,\" Cook said.\u003c/p>\n\u003cp>Cook admitted intensifying criticism made him reconsider.\u003c/p>\n\u003cp>“We did have outreach from people in favor of the decision, but we did get a lot of outreach from people against it ... those emails haven’t stopped,” Cook said.\u003c/p>\n\u003cp>https://twitter.com/katewolffe/status/1161481784321691648\u003c/p>\n\u003cp>The move came after critics insisted destroying the mural would amount historical censorship, and a loss to art.\u003c/p>\n\u003cp>Work will now begin to cover up the murals using solid panels instead of paint. \u003c/p>\n\u003cp>Arianna Antone-Ramirez, a member of the Tohono O'odham Nation and board member of the American Indian Cultural Center of San Francisco, said that while she’s glad the mural will be covered up, she’s frustrated by the reversal of the decision.\u003c/p>\n\u003cp>[aside label=\"From KQED Arts\" link1=\"https://www.kqed.org/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural,S.F. School Board Votes to Paint Over Controversial High School Mural\"]\u003c/p>\n\u003cp>\"I wouldn’t be surprised if we’re back here in 20 years trying to advocate again to try to cover up this mural,\" Anton-Ramirez said. \"I won’t be surprised if a future board of education takes the panel down.\"\u003c/p>\n\u003cp>Students returning to class next week will see the mural at least until a required environmental impact report is completed and the panels installed.\u003c/p>\n\u003cp>The cost to cover the mural is expected to run into the hundreds of thousands of dollars.\u003c/p>\n\u003cp>\u003cem>The Associated Press contributed reporting to this post.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"After a packed, heated meeting, the SFUSD Board reversed an earlier decision to paint over the mural George Washington High School in a 4-3 vote on Tuesday night.","status":"publish","parent":0,"modified":1565817146,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":434},"headData":{"title":"S.F. School Board Votes to Cover Controversial Mural Instead of Painting Over It | KQED","description":"After a packed, heated meeting, the SFUSD Board reversed an earlier decision to paint over the mural George Washington High School in a 4-3 vote on Tuesday night.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"S.F. School Board Votes to Cover Controversial Mural Instead of Painting Over It","datePublished":"2019-08-14T17:01:07.000Z","dateModified":"2019-08-14T21:12:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11767493 https://ww2.kqed.org/news/?p=11767493","disqusUrl":"https://ww2.kqed.org/news/2019/08/14/s-f-school-board-votes-to-cover-controversial-mural-instead-of-painting-over-it/","disqusTitle":"S.F. School Board Votes to Cover Controversial Mural Instead of Painting Over It","audioUrl":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2050/05/Mural.mp3","audioTrackLength":43,"path":"/news/11767493/s-f-school-board-votes-to-cover-controversial-mural-instead-of-painting-over-it","audioDuration":43000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A controversial mural at a San Francisco high school is not going away quite yet after the San Francisco Unified School District's board reversed an earlier decision to paint over the mural in a 4-3 vote Tuesday night. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11765093","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The SFUSD Board meeting was packed, with attendees voicing opinions on the 13-panel mural at George Washington High School. At times things became heated with boos and shouting.\u003c/p>\n\u003cp>The 1,600 square-foot \"Life of Washington\" was painted by Victor Arnautoff in 1936, and depicts scenes from Washington’s life. One of the panels features Washington directing white men westward over the body of an apparently slain Native American. Another shows Washington among his slaves at Mount Vernon.\u003c/p>\n\u003cp>In June, the Board \u003ca href=\"https://www.kqed.org/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural\" rel=\"noopener\" target=\"_blank\">voted to paint over the mural\u003c/a>. But SFUSD Board President Stevon Cook decided there should be another vote.\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>\"After hearing much more input from the public and a lot of sentiment around destroying the art, I decided to bring the item back,\" Cook said.\u003c/p>\n\u003cp>Cook admitted intensifying criticism made him reconsider.\u003c/p>\n\u003cp>“We did have outreach from people in favor of the decision, but we did get a lot of outreach from people against it ... those emails haven’t stopped,” Cook said.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1161481784321691648"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The move came after critics insisted destroying the mural would amount historical censorship, and a loss to art.\u003c/p>\n\u003cp>Work will now begin to cover up the murals using solid panels instead of paint. \u003c/p>\n\u003cp>Arianna Antone-Ramirez, a member of the Tohono O'odham Nation and board member of the American Indian Cultural Center of San Francisco, said that while she’s glad the mural will be covered up, she’s frustrated by the reversal of the decision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"From KQED Arts ","link1":"https://www.kqed.org/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural,S.F. School Board Votes to Paint Over Controversial High School Mural"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I wouldn’t be surprised if we’re back here in 20 years trying to advocate again to try to cover up this mural,\" Anton-Ramirez said. \"I won’t be surprised if a future board of education takes the panel down.\"\u003c/p>\n\u003cp>Students returning to class next week will see the mural at least until a required environmental impact report is completed and the panels installed.\u003c/p>\n\u003cp>The cost to cover the mural is expected to run into the hundreds of thousands of dollars.\u003c/p>\n\u003cp>\u003cem>The Associated Press contributed reporting to this post.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11767493/s-f-school-board-votes-to-cover-controversial-mural-instead-of-painting-over-it","authors":["11523"],"categories":["news_223","news_18540","news_8","news_13"],"tags":["news_20759","news_26343","news_26344","news_1247","news_1262","news_38","news_1290"],"featImg":"news_11767510","label":"news"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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