SF Chinatown Weighs in on Controversial Monuments in Portsmouth Square
'It's Kind of a Weird Message': The Fraught Story Behind Those Giant Paintings Off Central Valley Highways
The Tale of the Bay Bridge Troll
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In San Francisco, New Public Art You Can't Avoid Seeing
S.F. Cancels Multimillion-Dollar Transbay Terminal Art Project
Sponsored
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Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. 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Beale\u003c/a> is an award winning journalist, audio engineer, and media host living in San Francisco. \r\n\r\nChristopher works primarily as an audio engineer at KQED and serves as the sound designer for both the Bay Curious and Rightnowish podcasts. He is the host and producer of the LGBTQIA podcast and radio segment \u003ca href=\"https://stereotypespodcast.org\">Stereotypes\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/dc485bf84788eb7e7414eb638e72407e?s=600&d=blank&r=g","twitter":"realchrisjbeale","facebook":null,"instagram":"http://instagram.com/realchrisjbeale","linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"news","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Christopher Beale | KQED","description":"Engineer/Producer/Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/dc485bf84788eb7e7414eb638e72407e?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/dc485bf84788eb7e7414eb638e72407e?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cbeale"},"sjohnson":{"type":"authors","id":"11840","meta":{"index":"authors_1591205172","id":"11840","found":true},"name":"Sydney Johnson","firstName":"Sydney","lastName":"Johnson","slug":"sjohnson","email":"sjohnson@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"KQED Reporter","bio":"Sydney Johnson is a general assignment reporter at KQED. She previously reported on public health and city government at the San Francisco Examiner, and before that, she covered statewide education policy for EdSource. Her reporting has won multiple local, state and national awards. Sydney is a graduate of the University of California, Berkeley and lives in San Francisco.","avatar":"https://secure.gravatar.com/avatar/97855f2719b72ad6190b7c535fe642c8?s=600&d=blank&r=g","twitter":"sydneyfjohnson","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["editor"]}],"headData":{"title":"Sydney Johnson | KQED","description":"KQED Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/97855f2719b72ad6190b7c535fe642c8?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/97855f2719b72ad6190b7c535fe642c8?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/sjohnson"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11973503":{"type":"posts","id":"news_11973503","meta":{"index":"posts_1591205157","site":"news","id":"11973503","score":null,"sort":[1706196647000]},"guestAuthors":[],"slug":"sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square","title":"SF Chinatown Weighs in on Controversial Monuments in Portsmouth Square","publishDate":1706196647,"format":"standard","headTitle":"SF Chinatown Weighs in on Controversial Monuments in Portsmouth Square | KQED","labelTerm":{"site":"news"},"content":"\u003cp>Portsmouth Square, a one-block plaza at the heart of San Francisco’s historic Chinatown, is \u003ca href=\"https://sfrecpark.org/1166/Portsmouth-Square\">slated to undergo a major facelift\u003c/a>.[pullquote size=\"medium\" align=\"right\" citation=\"Allison Cummings, senior registrar, San Francisco Arts Commission Civic Art Collection\"]‘We’re in a moment of work, doing deep work with the community to understand what they want and what makes sense for the park.’[/pullquote]The project is nearly a decade in the making. But before breaking ground, the city must decide what to do with nearly a dozen controversial public artworks, monuments and plaques currently at the park.\u003c/p>\n\u003cp>Reconsidering, contextualizing or outright removing public artwork that can represent different things to different people is not a simple process. But it is increasingly necessary, according to community members and the city’s public art curators.\u003c/p>\n\u003cp>“We’re in a moment of work, doing deep work with the community to understand what they want and what makes sense for the park,” said Allison Cummings, senior registrar for the city’s civic art collection. “Things are moving all over the palace in the park, and nothing will be in the same place that it’s in now. What is the story that’s going to be told?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Protest and public art\u003c/h2>\n\u003cp>Colloquially known as the “living room” of one of the country’s oldest Chinatowns, Portsmouth Square is recognized as the city’s first park — originally called Plaza de Yerba Buena — established while California was still part of Mexico.\u003c/p>\n\u003cp>Since then, it’s become a gathering place and geographic symbol for the Chinatown community. On any given day, it’s bustling with people headed to nearby transit lines, huddled playing cards and those looking for a reprieve from dense housing framing the park.\u003c/p>\n\u003cfigure id=\"attachment_11973429\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED.jpg\" alt=\"People fill Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People fill Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is the birthplace of San Francisco, and it’s the living room for Chinatown. Most of the people you see here live in Chinatown,” Chinatown expert and historian David Lei said. “Generations of Chinese have started out this way, as poor immigrants, and here, you can put a roof over you and your family’s head. The purpose is to allow people to have a chance.”[pullquote size=\"medium\" align=\"right\" citation=\"David Lei, Chinatown expert and historian\"]‘This is the birthplace of San Francisco, and it’s the living room for Chinatown. Most of the people you see here live in Chinatown.’[/pullquote]Reckonings over controversial public art and monuments took off across the Bay Area amid nationwide protests against police brutality in 2020 — after a Minneapolis police officer killed George Floyd. The discussions led to the removal of statues like the one of \u003ca href=\"https://www.mercurynews.com/2021/11/09/example-of-what-systematic-racism-is-controversial-san-jose-statue-will-officially-be-removed/\">Thomas Fallon, a former San José mayor\u003c/a>, who played a role in the U.S. annexation of California.\u003c/p>\n\u003cp>In San Francisco, activists toppled and vandalized multiple statues in 2020 that critics said celebrated racist and colonialist histories. That prompted the city to remove a 12-foot bronze statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\">Christopher Columbus\u003c/a> the day before protestors had planned to pull it down. Mayor London Breed then directed the Arts Commission to review its public art collection and refine processes around monuments and memorials.\u003c/p>\n\u003cp>Last year, San Francisco’s Art Commission updated its \u003ca href=\"https://sfartscommission.org/sites/default/files/documents/SF_MMAC_Final_Report_07_2023.pdf\">procedures for reviewing public artwork\u003c/a> that may uphold racist, colonialist or other harmful narratives. Also, in 2023, the city received a \u003ca href=\"https://sfartscommission.org/our-role-impact/press-room/press-release/mayor-london-breed-announces-san-francisco-arts-commission\">$3 million grant\u003c/a> to implement those new recommendations, starting with an equity audit of the current monuments and memorials in the city’s Civic Art Collection later this year and community outreach.\u003c/p>\n\u003ch2>Representation as history\u003c/h2>\n\u003cp>As the Columbus statue now sits in storage and awaits its public review, three pieces at Portsmouth Square are in the very early stages of the updated review process. Those are the Goddess of Democracy monument, a monument to Scottish novelist Robert Louis Stevenson, and a zodiac sculpture on the children’s playground.\u003c/p>\n\u003cp>“There’s arguably no artwork in Portsmouth Square that actually commemorates Asian American history,” said Hoi Leung, curator and deputy director of the Chinese Culture Center. She added that no current artwork at the park is by artists of Asian descent, either.\u003c/p>\n\u003cfigure id=\"attachment_11973426\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the last year, the Chinese Culture Center of San Francisco, the Chinatown Community Development Center, the Manilatown Heritage Foundation, and other community organizations, gathered residents and historians to discuss what type of art and interpretation they would like to see to increase public education and understanding about the park and its history.\u003c/p>\n\u003cp>San Francisco Arts Commission, Planning Department and Recreation and Parks oversee different elements of the redesign. Their next community feedback meeting is on \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=1698\">Jan. 30\u003c/a> at 808 Kearny St. in room 402.[pullquote size=\"medium\" align=\"right\" citation=\"Hoi Leung, curator and deputy director, Chinese Culture Center\"]‘There’s arguably no artwork in Portsmouth Square that actually commemorates Asian American history.’[/pullquote]At the meetings, Leung said, community members shared that monuments in the park today do little to represent the historical or contemporary contributions and lived experiences of Chinese or Asian Americans.\u003c/p>\n\u003cp>The Robert Louis Stevenson monument, for example, felt out of touch with some locals who attended one of the recent feedback meetings. The \u003cem>Treasure Island\u003c/em> author only briefly stayed in the city and had little to do with the Chinatown community directly.\u003c/p>\n\u003cp>“There were a lot of vocal opinions about how we have to remove the school monument because it’s racist, and Robert Louis Stevenson had nothing to do with Chinatown. A lot of those comments,” Leung told KQED.\u003c/p>\n\u003cp>A stone monument honoring the state’s first public schoolhouse that opened at the site of the park in 1848 also exemplifies the frustration some park-goers have. That’s because the school did not allow students of Asian descent to enroll, and many Chinese immigrants in the neighborhood were excluded from any opportunities the school provided.\u003c/p>\n\u003cp>More than a dozen community members said at a feedback session in October that they would like to see the schoolhouse monument removed because it upholds racist narratives by excluding information on how Chinese students were barred from attending the school. Some said they would rather see artwork depicting the story of segregated Chinese schools and more history of the Chinese Exclusion Act.\u003c/p>\n\u003cp>But opinions differ.\u003c/p>\n\u003cp>Lei said he would “make a fuss” if the entire statue were removed.\u003c/p>\n\u003cfigure id=\"attachment_11973432\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED.jpg\" alt=\"Historian David Lei sits on a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Historian David Lei sits on a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of people say, ‘Well, there’s a whole history of [Chinese immigrants] not being able to go,’” Lei said. “They only hear part of it, but there is so much to say.”\u003c/p>\n\u003cp>The monument needs more historical context, he said, but removing the piece completely could also overlook some important history about the school, which was founded by William Leidesdorff — an affluent Black and Jewish man and one of the earliest founders of the city — who is also left off the plaque.[pullquote size=\"medium\" align=\"right\" citation=\"Hoi Leung, curator and deputy director, Chinese Culture Center\"]‘This is a museum without walls. We hope that people who care about this come out and add to the pool of endless stories that this park can be a repository for.’[/pullquote]“This is such an important opportunity to actually empower the community’s voice. Whether it’s ‘remove’ or ‘not remove.’ The point is to give agency to the community to have a voice during that process,” said Jenny Leung, executive director of the Chinese Culture Center. “So often, it’s just about removing pieces or putting them right back where they were. But there are ways to make room for these stories.”\u003c/p>\n\u003cp>Hoi Leung added that the feedback meetings are a chance for the community to finally weigh in on what art and interpretation at the park can look like moving forward.\u003c/p>\n\u003cp>“This is a museum without walls,” she said. “We hope that people who care about this come out and add to the pool of endless stories that this park can be a repository for.”\u003c/p>\n\u003ch2>Art for future generations\u003c/h2>\n\u003cp>Pieces in Portsmouth Square won’t be the first civic artwork to undergo the city’s revamped review process. Recently, the Arts Commission approved the removal of the bust of former mayor James Phelan, who advocated for Chinese exclusion. The city plans to replace the piece with a similar bronze bust on a sandstone plinth of Ed Lee, the city’s first Asian American mayor, who died in 2017.\u003c/p>\n\u003cp>Lei, the historian, said Portsmouth Square could integrate technology like QR codes to create more didactic educational experiences and go beyond a physical plaque’s limited word count. That, he said, could be used to tell stories about the historic buildings that flank Portsmouth Square, some of which were the site of former legal offices that handled cases that have shaped the American fabric, like \u003cem>Tape v. Hurley\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11973428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED.jpg\" alt=\"Historian David Lei points to a school house memorial plaque in Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Historian David Lei points to a school house memorial plaque in Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years before the landmark ruling of\u003cem> Brown v. Board of Education\u003c/em>, members of San Francisco’s Chinatown community fought for Mamie Tape, a Chinese American who was barred from attending a San Francisco public school because of her ethnic background. Her family successfully challenged the school’s decision and won in 1885.[aside label='More Stories on Chinatown' tag='chinatown']But new artwork for Portsmouth Square is not only about sharing new narratives; it’s about highlighting contemporary art and activism that’s exploding in the neighborhood today.\u003c/p>\n\u003cp>The site was a center for activism at the height of anti-Asian attacks during the pandemic — and a center for healing across generations.\u003c/p>\n\u003cp>Portsmouth Square’s redevelopment will also coincide with a full renovation of the adjacent brick-and-mortar space run by the Chinatown Media & Arts Collaborative, a multidisciplinary, multiracial art and cultural hub founded in 2017.\u003c/p>\n\u003cp>“We’re thinking about what we want to leave for the next generation as well,” Hoi Leung said. “What’s critical about this moment is that there is a reckoning for needing to reexamine these monuments and commemoration — and Chinatown should fully participate in it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"San Francisco is implementing new processes for replacing and redefining art in public spaces. Several pieces at the historic Portsmouth Square will soon be up for review.","status":"publish","parent":0,"modified":1706651025,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1838},"headData":{"title":"SF Chinatown Weighs in on Controversial Monuments in Portsmouth Square | KQED","description":"San Francisco is implementing new processes for replacing and redefining art in public spaces. Several pieces at the historic Portsmouth Square will soon be up for review.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"SF Chinatown Weighs in on Controversial Monuments in Portsmouth Square","datePublished":"2024-01-25T15:30:47.000Z","dateModified":"2024-01-30T21:43:45.000Z","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"}}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/0f27bf12-8acd-4740-af05-b107015bcf26/audio.mp3","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Portsmouth Square, a one-block plaza at the heart of San Francisco’s historic Chinatown, is \u003ca href=\"https://sfrecpark.org/1166/Portsmouth-Square\">slated to undergo a major facelift\u003c/a>.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘We’re in a moment of work, doing deep work with the community to understand what they want and what makes sense for the park.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Allison Cummings, senior registrar, San Francisco Arts Commission Civic Art Collection","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The project is nearly a decade in the making. But before breaking ground, the city must decide what to do with nearly a dozen controversial public artworks, monuments and plaques currently at the park.\u003c/p>\n\u003cp>Reconsidering, contextualizing or outright removing public artwork that can represent different things to different people is not a simple process. But it is increasingly necessary, according to community members and the city’s public art curators.\u003c/p>\n\u003cp>“We’re in a moment of work, doing deep work with the community to understand what they want and what makes sense for the park,” said Allison Cummings, senior registrar for the city’s civic art collection. “Things are moving all over the palace in the park, and nothing will be in the same place that it’s in now. What is the story that’s going to be told?”\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\u003ch2>Protest and public art\u003c/h2>\n\u003cp>Colloquially known as the “living room” of one of the country’s oldest Chinatowns, Portsmouth Square is recognized as the city’s first park — originally called Plaza de Yerba Buena — established while California was still part of Mexico.\u003c/p>\n\u003cp>Since then, it’s become a gathering place and geographic symbol for the Chinatown community. On any given day, it’s bustling with people headed to nearby transit lines, huddled playing cards and those looking for a reprieve from dense housing framing the park.\u003c/p>\n\u003cfigure id=\"attachment_11973429\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED.jpg\" alt=\"People fill Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-29-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People fill Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is the birthplace of San Francisco, and it’s the living room for Chinatown. Most of the people you see here live in Chinatown,” Chinatown expert and historian David Lei said. “Generations of Chinese have started out this way, as poor immigrants, and here, you can put a roof over you and your family’s head. The purpose is to allow people to have a chance.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘This is the birthplace of San Francisco, and it’s the living room for Chinatown. Most of the people you see here live in Chinatown.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"David Lei, Chinatown expert and historian","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Reckonings over controversial public art and monuments took off across the Bay Area amid nationwide protests against police brutality in 2020 — after a Minneapolis police officer killed George Floyd. The discussions led to the removal of statues like the one of \u003ca href=\"https://www.mercurynews.com/2021/11/09/example-of-what-systematic-racism-is-controversial-san-jose-statue-will-officially-be-removed/\">Thomas Fallon, a former San José mayor\u003c/a>, who played a role in the U.S. annexation of California.\u003c/p>\n\u003cp>In San Francisco, activists toppled and vandalized multiple statues in 2020 that critics said celebrated racist and colonialist histories. That prompted the city to remove a 12-foot bronze statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\">Christopher Columbus\u003c/a> the day before protestors had planned to pull it down. Mayor London Breed then directed the Arts Commission to review its public art collection and refine processes around monuments and memorials.\u003c/p>\n\u003cp>Last year, San Francisco’s Art Commission updated its \u003ca href=\"https://sfartscommission.org/sites/default/files/documents/SF_MMAC_Final_Report_07_2023.pdf\">procedures for reviewing public artwork\u003c/a> that may uphold racist, colonialist or other harmful narratives. Also, in 2023, the city received a \u003ca href=\"https://sfartscommission.org/our-role-impact/press-room/press-release/mayor-london-breed-announces-san-francisco-arts-commission\">$3 million grant\u003c/a> to implement those new recommendations, starting with an equity audit of the current monuments and memorials in the city’s Civic Art Collection later this year and community outreach.\u003c/p>\n\u003ch2>Representation as history\u003c/h2>\n\u003cp>As the Columbus statue now sits in storage and awaits its public review, three pieces at Portsmouth Square are in the very early stages of the updated review process. Those are the Goddess of Democracy monument, a monument to Scottish novelist Robert Louis Stevenson, and a zodiac sculpture on the children’s playground.\u003c/p>\n\u003cp>“There’s arguably no artwork in Portsmouth Square that actually commemorates Asian American history,” said Hoi Leung, curator and deputy director of the Chinese Culture Center. She added that no current artwork at the park is by artists of Asian descent, either.\u003c/p>\n\u003cfigure id=\"attachment_11973426\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the last year, the Chinese Culture Center of San Francisco, the Chinatown Community Development Center, the Manilatown Heritage Foundation, and other community organizations, gathered residents and historians to discuss what type of art and interpretation they would like to see to increase public education and understanding about the park and its history.\u003c/p>\n\u003cp>San Francisco Arts Commission, Planning Department and Recreation and Parks oversee different elements of the redesign. Their next community feedback meeting is on \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=1698\">Jan. 30\u003c/a> at 808 Kearny St. in room 402.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘There’s arguably no artwork in Portsmouth Square that actually commemorates Asian American history.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Hoi Leung, curator and deputy director, Chinese Culture Center","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the meetings, Leung said, community members shared that monuments in the park today do little to represent the historical or contemporary contributions and lived experiences of Chinese or Asian Americans.\u003c/p>\n\u003cp>The Robert Louis Stevenson monument, for example, felt out of touch with some locals who attended one of the recent feedback meetings. The \u003cem>Treasure Island\u003c/em> author only briefly stayed in the city and had little to do with the Chinatown community directly.\u003c/p>\n\u003cp>“There were a lot of vocal opinions about how we have to remove the school monument because it’s racist, and Robert Louis Stevenson had nothing to do with Chinatown. A lot of those comments,” Leung told KQED.\u003c/p>\n\u003cp>A stone monument honoring the state’s first public schoolhouse that opened at the site of the park in 1848 also exemplifies the frustration some park-goers have. That’s because the school did not allow students of Asian descent to enroll, and many Chinese immigrants in the neighborhood were excluded from any opportunities the school provided.\u003c/p>\n\u003cp>More than a dozen community members said at a feedback session in October that they would like to see the schoolhouse monument removed because it upholds racist narratives by excluding information on how Chinese students were barred from attending the school. Some said they would rather see artwork depicting the story of segregated Chinese schools and more history of the Chinese Exclusion Act.\u003c/p>\n\u003cp>But opinions differ.\u003c/p>\n\u003cp>Lei said he would “make a fuss” if the entire statue were removed.\u003c/p>\n\u003cfigure id=\"attachment_11973432\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED.jpg\" alt=\"Historian David Lei sits on a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-13-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Historian David Lei sits on a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of people say, ‘Well, there’s a whole history of [Chinese immigrants] not being able to go,’” Lei said. “They only hear part of it, but there is so much to say.”\u003c/p>\n\u003cp>The monument needs more historical context, he said, but removing the piece completely could also overlook some important history about the school, which was founded by William Leidesdorff — an affluent Black and Jewish man and one of the earliest founders of the city — who is also left off the plaque.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘This is a museum without walls. We hope that people who care about this come out and add to the pool of endless stories that this park can be a repository for.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Hoi Leung, curator and deputy director, Chinese Culture Center","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“This is such an important opportunity to actually empower the community’s voice. Whether it’s ‘remove’ or ‘not remove.’ The point is to give agency to the community to have a voice during that process,” said Jenny Leung, executive director of the Chinese Culture Center. “So often, it’s just about removing pieces or putting them right back where they were. But there are ways to make room for these stories.”\u003c/p>\n\u003cp>Hoi Leung added that the feedback meetings are a chance for the community to finally weigh in on what art and interpretation at the park can look like moving forward.\u003c/p>\n\u003cp>“This is a museum without walls,” she said. “We hope that people who care about this come out and add to the pool of endless stories that this park can be a repository for.”\u003c/p>\n\u003ch2>Art for future generations\u003c/h2>\n\u003cp>Pieces in Portsmouth Square won’t be the first civic artwork to undergo the city’s revamped review process. Recently, the Arts Commission approved the removal of the bust of former mayor James Phelan, who advocated for Chinese exclusion. The city plans to replace the piece with a similar bronze bust on a sandstone plinth of Ed Lee, the city’s first Asian American mayor, who died in 2017.\u003c/p>\n\u003cp>Lei, the historian, said Portsmouth Square could integrate technology like QR codes to create more didactic educational experiences and go beyond a physical plaque’s limited word count. That, he said, could be used to tell stories about the historic buildings that flank Portsmouth Square, some of which were the site of former legal offices that handled cases that have shaped the American fabric, like \u003cem>Tape v. Hurley\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11973428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED.jpg\" alt=\"Historian David Lei points to a school house memorial plaque in Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/240122-PORTSMOUTHSQUARE-23-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Historian David Lei points to a school house memorial plaque in Portsmouth Square in San Francisco’s Chinatown neighborhood on Jan. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years before the landmark ruling of\u003cem> Brown v. Board of Education\u003c/em>, members of San Francisco’s Chinatown community fought for Mamie Tape, a Chinese American who was barred from attending a San Francisco public school because of her ethnic background. Her family successfully challenged the school’s decision and won in 1885.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Stories on Chinatown ","tag":"chinatown"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But new artwork for Portsmouth Square is not only about sharing new narratives; it’s about highlighting contemporary art and activism that’s exploding in the neighborhood today.\u003c/p>\n\u003cp>The site was a center for activism at the height of anti-Asian attacks during the pandemic — and a center for healing across generations.\u003c/p>\n\u003cp>Portsmouth Square’s redevelopment will also coincide with a full renovation of the adjacent brick-and-mortar space run by the Chinatown Media & Arts Collaborative, a multidisciplinary, multiracial art and cultural hub founded in 2017.\u003c/p>\n\u003cp>“We’re thinking about what we want to leave for the next generation as well,” Hoi Leung said. “What’s critical about this moment is that there is a reckoning for needing to reexamine these monuments and commemoration — and Chinatown should fully participate in 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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square","authors":["11840"],"categories":["news_29992","news_8"],"tags":["news_393","news_23114","news_27626","news_6931","news_27959","news_21090","news_19216","news_38","news_30076","news_29608"],"featImg":"news_11973430","label":"news"},"news_11920632":{"type":"posts","id":"news_11920632","meta":{"index":"posts_1591205157","site":"news","id":"11920632","score":null,"sort":[1659002402000]},"guestAuthors":[],"slug":"is-there-a-story-behind-those-giant-paintings-off-central-valley-highways-yes-and-its-fraught","title":"'It's Kind of a Weird Message': The Fraught Story Behind Those Giant Paintings Off Central Valley Highways","publishDate":1659002402,"format":"standard","headTitle":"‘It’s Kind of a Weird Message’: The Fraught Story Behind Those Giant Paintings Off Central Valley Highways | KQED","labelTerm":{},"content":"\u003cp>California’s Central Valley boasts some beautiful landscapes, often missed by drivers bombing down I-5 between Northern and Southern California. But if you’ve ever driven to, say, Salinas or Carmel, you may have noticed some giant art along the way. Scattered throughout the area, off many different roads, are hundreds of brightly colored plywood cutout scenes of Americana.\u003c/p>\n\u003cp>Bay Curious listener Nick Loey drives these roads regularly and has often wondered about these giant art pieces — some of which are over 20 feet tall — sticking up in random fields in remote locations.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“They have a very distinct style, sort of like pop art, that depict what seem to be farmworkers doing jobs in the field or sort of just posing with their pets or farm equipment,” Loey said. He wants to know “whether or not there’s some story behind that set of art. Is it an exposition for a specific artist? Is it a history piece that you’re supposed to admire and enjoy as you’re driving down the freeway, or is it something more?”\u003c/p>\n\u003cp>Answering Nick’s question took us into artist studios and farmworker communities. And like so many things, this art means different things depending on who you ask.\u003c/p>\n\u003ch2>“Farmer & Irrigator”\u003c/h2>\n\u003cp>If you’ve never seen these art pieces before, I can’t stress to you how large they are when you get up close to them. But driving by, the static cutouts almost feel interactive. From far away, it can look like figures crouched in the field or standing, surveying the day’s work. It’s only as drivers get closer that they realize the figures aren’t real people at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the most iconic of these giant artworks is “Farmer & Irrigator,” found in a field along Highway 68 in Salinas, near an agricultural education center called The Farm. It depicts two men facing away from the highway and toward the landscape. One is standing, leaning his foot on a shovel digging into the dirt, while the other kneels, a handful of dirt in hand, as he surveys the view. Closer to the road, an older man dressed in plaid and a straw hat holds two cabbages.\u003c/p>\n\u003cp>\u003ca href=\"https://www.johncerneymurals.com/index.html\">John Cerney, the artist behind “Farmer & Irrigator,”\u003c/a> along with about 150 other plywood cutout paintings of this style in California, worked in agriculture for close to seven years. He created the art as an homage to the farmworkers providing the country with fresh produce.\u003c/p>\n\u003cp>“My first job was picking strawberries when I was 15 years old,” Cerney said. “I know how hard the work is. They get up early and it’s a rough life. They’re still underpaid. They work hard and I was happy to get that first gig and elevate them and draw attention to them.”\u003c/p>\n\u003cp>The trouble is, many farmworkers living in these agricultural communities and driving by the art every day don’t feel the same way. That’s in large part because most of the figures are depicted with white or light-colored skin.\u003c/p>\n\u003cfigure id=\"attachment_11920662\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11920662\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan.jpg\" alt=\"A large painting of a man with a white mustache, hat and tan jacket stands near the edge of a field, next to the road. The man holds two cabbages with more at his feet.\" width=\"1700\" height=\"1600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan.jpg 1700w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-800x753.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-1020x960.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-160x151.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-1536x1446.jpg 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">One of the 11 subjects in Cerney’s “Farmer & Irrigator” installation. Closest to the road, the painting is often vandalized. \u003ccite>(Cesar Saldaña/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah, for me, that represents the growers,” said Lauro Barajas, regional director for the \u003ca href=\"https://www.ufwfoundation.org/\">United Farm Workers\u003c/a> in Santa Cruz and Monterey counties. “It’s a nice painting, but it’s kind of a weird message.”\u003c/p>\n\u003cp>It has been almost 100 years since white farmers worked the land in Salinas, Barajas said. Today, immigrants, most of whom are from states in southern Mexico like Chiapas, Guerrero and Oaxaca, are the ones doing the backbreaking labor of producing food for the country. And they don’t see themselves represented in this artwork.[aside label='Farmworker Support Orgs' link1='https://farmworkerfamily.org,Center For Farmworker Families' link2='https://www.ufwfoundation.org,UFW Foundation']Although some of the subjects in Cerney’s installation are based on photographs of Latinos, the ones that are most easily seen by the public don’t appear to be. Some community members noted that farmworkers work hard to sustain their families and the country’s food supply with their labor, so it’s disheartening to see white or white-passing people take the credit in these highly visible art pieces.\u003c/p>\n\u003cp>“Since the inception of the UFW, when you do see farmworkers in art pieces, they are usually pretty positive,” said labor-rights activist Dolores Huerta, who co-founded the United Farmworkers (UFW) alongside Larry Itliong and César Chavez. Huerta drove by one of Cerney’s paintings recently.\u003c/p>\n\u003cp>“But they’re not farmworkers; they’re the farmers. They are the growers or the owners of the land, not the people that are actually doing the work,” Huerta said.\u003c/p>\n\u003cp>Cerney confirmed this, saying that the owner of the land commissioned “Farmer & Irrigator” in 1995, directing Cerney to paint himself and members of his family alongside the fieldworkers.\u003c/p>\n\u003ch2>The tensions of public art\u003c/h2>\n\u003cp>When I told Cerney that some members of the farmworker community don’t feel seen in the installation, he was saddened. He never intended to misrepresent the farmworking community and said that he is just trying to make a living as an artist, something that’s difficult to do nowadays. He uses the commissions he receives to subsidize the work he’s truly passionate about making.\u003c/p>\n\u003cfigure id=\"attachment_11920663\" class=\"wp-caption aligncenter\" style=\"max-width: 1076px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11920663\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney.jpg\" alt=\"A middle aged man in a white long sleeved tee shirt and baseball hat poses near a fence. In a trick of perspective, it looks like a giant hand next to him holds a mirror with James' Dean's face reflected.\" width=\"1076\" height=\"878\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney.jpg 1076w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney-1020x832.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney-160x131.jpg 160w\" sizes=\"(max-width: 1076px) 100vw, 1076px\">\u003cfigcaption class=\"wp-caption-text\">Artist John Cerney standing near the entrance of his studio where he creates giant highway paintings. Cerney often paints portraits of American celebrities like Marilyn Monroe, James Dean and Aretha Franklin. \u003ccite>(Cesar Saldaña/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it were left to myself — even though I grew up in this farming area and I worked in the (agriculture) industry myself for eight or nine years before I went to college — I wouldn’t have necessarily picked that,” he said. “It’s just that they asked me to do it, they were paying me, and I’m a hired gun. I did what they wanted.”\u003c/p>\n\u003cp>Nick Loey, who first asked about this art, wondered if they were part of a “history piece.” While not intended as such, in many ways they are a testament to the age-old discrepancy in power between landowners who are seen and laborers who are not.\u003c/p>\n\u003cp>Though Cerney’s intentions were good, the thing about public art is that once it’s out there, the artist ceases to be part of the equation. The work is no longer about intent, but rather about the impact it has on those viewing it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"Drive south down Highway 101 or 68, among others, and you'll likely see giant paintings depicting farm scenes and rural life. We find out what it's all about from the artist who made them famous and get reactions from people living and working in agricultural communities near them.","status":"publish","parent":0,"modified":1700532519,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":22,"wordCount":1167},"headData":{"title":"'It's Kind of a Weird Message': The Fraught Story Behind Those Giant Paintings Off Central Valley Highways | KQED","description":"Drive south down Highway 101 or 68, among others, and you'll likely see giant paintings depicting farm scenes and rural life. We find out what it's all about from the artist who made them famous and get reactions from people living and working in agricultural communities near them.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'It's Kind of a Weird Message': The Fraught Story Behind Those Giant Paintings Off Central Valley Highways","datePublished":"2022-07-28T10:00:02.000Z","dateModified":"2023-11-21T02:08:39.000Z","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"}}},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://dcs.megaphone.fm/KQINC9144239897.mp3?key=0e228df4195cdf8e6e51b9c5a288a293","excludeFromSiteSearch":"Include","path":"/news/11920632/is-there-a-story-behind-those-giant-paintings-off-central-valley-highways-yes-and-its-fraught","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>California’s Central Valley boasts some beautiful landscapes, often missed by drivers bombing down I-5 between Northern and Southern California. But if you’ve ever driven to, say, Salinas or Carmel, you may have noticed some giant art along the way. Scattered throughout the area, off many different roads, are hundreds of brightly colored plywood cutout scenes of Americana.\u003c/p>\n\u003cp>Bay Curious listener Nick Loey drives these roads regularly and has often wondered about these giant art pieces — some of which are over 20 feet tall — sticking up in random fields in remote locations.\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>“They have a very distinct style, sort of like pop art, that depict what seem to be farmworkers doing jobs in the field or sort of just posing with their pets or farm equipment,” Loey said. He wants to know “whether or not there’s some story behind that set of art. Is it an exposition for a specific artist? Is it a history piece that you’re supposed to admire and enjoy as you’re driving down the freeway, or is it something more?”\u003c/p>\n\u003cp>Answering Nick’s question took us into artist studios and farmworker communities. And like so many things, this art means different things depending on who you ask.\u003c/p>\n\u003ch2>“Farmer & Irrigator”\u003c/h2>\n\u003cp>If you’ve never seen these art pieces before, I can’t stress to you how large they are when you get up close to them. But driving by, the static cutouts almost feel interactive. From far away, it can look like figures crouched in the field or standing, surveying the day’s work. It’s only as drivers get closer that they realize the figures aren’t real people at all.\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>One of the most iconic of these giant artworks is “Farmer & Irrigator,” found in a field along Highway 68 in Salinas, near an agricultural education center called The Farm. It depicts two men facing away from the highway and toward the landscape. One is standing, leaning his foot on a shovel digging into the dirt, while the other kneels, a handful of dirt in hand, as he surveys the view. Closer to the road, an older man dressed in plaid and a straw hat holds two cabbages.\u003c/p>\n\u003cp>\u003ca href=\"https://www.johncerneymurals.com/index.html\">John Cerney, the artist behind “Farmer & Irrigator,”\u003c/a> along with about 150 other plywood cutout paintings of this style in California, worked in agriculture for close to seven years. He created the art as an homage to the farmworkers providing the country with fresh produce.\u003c/p>\n\u003cp>“My first job was picking strawberries when I was 15 years old,” Cerney said. “I know how hard the work is. They get up early and it’s a rough life. They’re still underpaid. They work hard and I was happy to get that first gig and elevate them and draw attention to them.”\u003c/p>\n\u003cp>The trouble is, many farmworkers living in these agricultural communities and driving by the art every day don’t feel the same way. That’s in large part because most of the figures are depicted with white or light-colored skin.\u003c/p>\n\u003cfigure id=\"attachment_11920662\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11920662\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan.jpg\" alt=\"A large painting of a man with a white mustache, hat and tan jacket stands near the edge of a field, next to the road. The man holds two cabbages with more at his feet.\" width=\"1700\" height=\"1600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan.jpg 1700w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-800x753.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-1020x960.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-160x151.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/CabbageMan-1536x1446.jpg 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">One of the 11 subjects in Cerney’s “Farmer & Irrigator” installation. Closest to the road, the painting is often vandalized. \u003ccite>(Cesar Saldaña/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah, for me, that represents the growers,” said Lauro Barajas, regional director for the \u003ca href=\"https://www.ufwfoundation.org/\">United Farm Workers\u003c/a> in Santa Cruz and Monterey counties. “It’s a nice painting, but it’s kind of a weird message.”\u003c/p>\n\u003cp>It has been almost 100 years since white farmers worked the land in Salinas, Barajas said. Today, immigrants, most of whom are from states in southern Mexico like Chiapas, Guerrero and Oaxaca, are the ones doing the backbreaking labor of producing food for the country. And they don’t see themselves represented in this artwork.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Farmworker Support Orgs ","link1":"https://farmworkerfamily.org,Center For Farmworker Families","link2":"https://www.ufwfoundation.org,UFW Foundation"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Although some of the subjects in Cerney’s installation are based on photographs of Latinos, the ones that are most easily seen by the public don’t appear to be. Some community members noted that farmworkers work hard to sustain their families and the country’s food supply with their labor, so it’s disheartening to see white or white-passing people take the credit in these highly visible art pieces.\u003c/p>\n\u003cp>“Since the inception of the UFW, when you do see farmworkers in art pieces, they are usually pretty positive,” said labor-rights activist Dolores Huerta, who co-founded the United Farmworkers (UFW) alongside Larry Itliong and César Chavez. Huerta drove by one of Cerney’s paintings recently.\u003c/p>\n\u003cp>“But they’re not farmworkers; they’re the farmers. They are the growers or the owners of the land, not the people that are actually doing the work,” Huerta said.\u003c/p>\n\u003cp>Cerney confirmed this, saying that the owner of the land commissioned “Farmer & Irrigator” in 1995, directing Cerney to paint himself and members of his family alongside the fieldworkers.\u003c/p>\n\u003ch2>The tensions of public art\u003c/h2>\n\u003cp>When I told Cerney that some members of the farmworker community don’t feel seen in the installation, he was saddened. He never intended to misrepresent the farmworking community and said that he is just trying to make a living as an artist, something that’s difficult to do nowadays. He uses the commissions he receives to subsidize the work he’s truly passionate about making.\u003c/p>\n\u003cfigure id=\"attachment_11920663\" class=\"wp-caption aligncenter\" style=\"max-width: 1076px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11920663\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney.jpg\" alt=\"A middle aged man in a white long sleeved tee shirt and baseball hat poses near a fence. In a trick of perspective, it looks like a giant hand next to him holds a mirror with James' Dean's face reflected.\" width=\"1076\" height=\"878\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney.jpg 1076w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney-1020x832.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/07/Cerney-160x131.jpg 160w\" sizes=\"(max-width: 1076px) 100vw, 1076px\">\u003cfigcaption class=\"wp-caption-text\">Artist John Cerney standing near the entrance of his studio where he creates giant highway paintings. Cerney often paints portraits of American celebrities like Marilyn Monroe, James Dean and Aretha Franklin. \u003ccite>(Cesar Saldaña/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If it were left to myself — even though I grew up in this farming area and I worked in the (agriculture) industry myself for eight or nine years before I went to college — I wouldn’t have necessarily picked that,” he said. “It’s just that they asked me to do it, they were paying me, and I’m a hired gun. I did what they wanted.”\u003c/p>\n\u003cp>Nick Loey, who first asked about this art, wondered if they were part of a “history piece.” While not intended as such, in many ways they are a testament to the age-old discrepancy in power between landowners who are seen and laborers who are not.\u003c/p>\n\u003cp>Though Cerney’s intentions were good, the thing about public art is that once it’s out there, the artist ceases to be part of the equation. The work is no longer about intent, but rather about the impact it has on those viewing 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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11920632/is-there-a-story-behind-those-giant-paintings-off-central-valley-highways-yes-and-its-fraught","authors":["11301"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_8","news_33520"],"tags":["news_311","news_29341","news_29817","news_21090","news_4889"],"featImg":"news_11920659","label":"source_news_11920632"},"news_11892152":{"type":"posts","id":"news_11892152","meta":{"index":"posts_1591205157","site":"news","id":"11892152","score":null,"sort":[1634205604000]},"guestAuthors":[],"slug":"the-tale-of-the-bay-bridge-troll","title":"The Tale of the Bay Bridge Troll","publishDate":1634205604,"format":"standard","headTitle":"The Tale of the Bay Bridge Troll | KQED","labelTerm":{},"content":"\u003cp>Every month, about 4 million trips are made across the San Francisco Bay Bridge — making it the busiest bridge in the Bay Area.\u003c/p>\n\u003cp>It’s a beautiful bridge with sweeping views, but driving across it can be harrowing. All those drivers, rushing to their busy lives. It can get a little dicey out there! So you might be relieved to hear this bridge has a secret guardian lurking under the eastern span, keeping us all safe: the Bay Bridge troll.\u003c/p>\n\u003cp>There have been a few trolls on the bridge over the years, but the legend of the first Bay Bridge troll begins in 1989.\u003c/p>\n\u003cp>The Loma Prieta earthquake — a magnitude 6.9 on the Richter scale — collapsed a large section of the upper deck of the Bay Bridge, “and honestly, if the earthquake would have continued for a few more seconds, the entire Eastern span would have collapsed,” said Bart Ney of Caltrans.\u003c/p>\n\u003cp>The repair work was done in about a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The contractors and the state were working together out there around the clock, seven days a week,” said Ney. Crews on the bridge worked to install steel pieces fabricated, in part, at a shop in Oakland.\u003c/p>\n\u003cp>Workers from the Oakland shop contacted a local blacksmith and artist named Bill Roan with an idea — to build a gargoyle to protect the repaired bridge section.\u003c/p>\n\u003cp>Roan did his research and found that gargoyles are not typically bridge guardians, so he proposed something a little more useful.\u003c/p>\n\u003ch2>The troll is born\u003c/h2>\n\u003cblockquote>\u003cp>\u003cem>“Who’s that tripping over my bridge?” roared the troll … “Now, I’m coming to gobble you up.” — from “The Three Billy Goats Gruff”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The connection between trolls and bridges reaches back to the Norwegian fairy tale “The Three Billy Goats Gruff,” published in the 1840s. The tale finds three billy goats trying to cross a bridge under which lives a scary troll. The three goats outsmart the troll to pass. The story was translated into English in the 1850s, and since then, trolls and bridges became inextricably linked in pop culture. As for what a troll actually looks like or does, that changes from culture to culture, bridge to bridge.\u003c/p>\n\u003cp>Roan decided a troll was what the repaired Bay Bridge needed to ward off evil spirits — seismic or supernatural. The result, said Ney, was, “particularly special. It was crafted out of a piece of metal that was from the [collapsed] bridge. Bill said he was trying to make a particularly fierce troll.”\u003c/p>\n\u003cp>Ney said the troll has webbed feet and hands, for swimming. He’s holding “a giant wrench welded into a bolt. And, he has a really long tongue, I mean his tongue is almost as long as half of his body.”\u003c/p>\n\u003cp>One night, under the cover of darkness, “[the troll] was placed on the bridge segment, facing the outside so no one else would really see it,” said Ney. After the retrofit was completed, the troll stayed on the bridge.\u003c/p>\n\u003cp>“Ultimately (the troll) did a good job out there for 24 years because we had no further, bigger earthquakes that impacted the structure,” said Ney.\u003c/p>\n\u003cp>When Caltrans began construction on the new eastern span of the San Francisco-Oakland Bay Bridge in 2002, the troll’s artist, Bill Roan, offered to make a new troll for the new bridge. Ney said they turned him down: “You can’t bring that sort of thing in the front door! This is where we talk about science and technology. That’s magic. The original troll came to Caltrans, we didn’t ask for him, and a new troll would need to be of the same ilk.”\u003c/p>\n\u003cp>No formal plans were made for a new troll. In fact, Caltrans’s official policy was “benign noninterference.” But when the new eastern span opened in 2013, a new, slightly taller troll was unveiled one night. Perched high atop a pier, the 2-foot troll is made of solid steel. He’s got a beard and tools in his hands.\u003c/p>\n\u003ch2>Finding the troll\u003c/h2>\n\u003cp>https://twitter.com/realchrisjbeale/status/1448421406631292928?t=Ud8Cy-cZn2nY-479Mp0V_g&s=19\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11892166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11892166 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg\" alt=\"A view of painted white iron beams, with one metal figurine of a troll on a lower level in shadow, and a white-painted one in the light.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When searching for the Bay Bridge troll, you’ll find that there are at least two on the bridge. The lower troll is considered “the” troll. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Head out onto the \u003ca href=\"https://511.org/biking/bay-bridge-trail\">Bay Bridge Trail\u003c/a>, a few miles in, \u003ca href=\"https://maps.app.goo.gl/WSghR5uRTkX3w5rn8\">where the cable connects to the bridge deck\u003c/a>, look down under the roadway, and you’ll spot the modern Bay Bridge troll in the shadows, spinning magic to this day.\u003c/p>\n\u003cfigure id=\"attachment_11892167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11892167 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg\" alt=\"An angular dark metal figurine with legs and arms, holding tools, its feet affixed to the cement below it.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The troll is always in shadow. Apparently trolls don’t like the sun. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original troll, from the old bridge, now lives in retirement at the Caltrans office in Oakland, where Ney said the troll never allows himself to be forgotten.\u003c/p>\n\u003cp>“I’ll be dead and gone and people will still be talking about the troll,” Ney said. “Every time I get off the elevator and I see him there, I just have to give him a wink. I never miss him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d like to visit the original troll, visit him at the Caltrans office at 111 Grand Ave. in Oakland, California.\u003c/p>\n\u003cfigure id=\"attachment_11892168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11892168 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg\" alt=\"A smiling man in a black jacket and black pants poses in front of a glass case that hold a metal figurine of a fairly human-looking troll.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talking about the troll can be a bit of an annoyance for Bart Ney, the chief of public affairs at Caltrans District 4. But he admits that he gives the troll a wink every time he gets off the elevator. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"A sculpture has been guarding the bridge since the old eastern span was repaired following the Loma Prieta earthquake. ","status":"publish","parent":0,"modified":1700534647,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":957},"headData":{"title":"The Tale of the Bay Bridge Troll | KQED","description":"A sculpture has been guarding the bridge since the old eastern span was repaired following the Loma Prieta earthquake. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The Tale of the Bay Bridge Troll","datePublished":"2021-10-14T10:00:04.000Z","dateModified":"2023-11-21T02:44:07.000Z","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/KQINC8652651281.mp3?updated=1634164480","path":"/news/11892152/the-tale-of-the-bay-bridge-troll","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every month, about 4 million trips are made across the San Francisco Bay Bridge — making it the busiest bridge in the Bay Area.\u003c/p>\n\u003cp>It’s a beautiful bridge with sweeping views, but driving across it can be harrowing. All those drivers, rushing to their busy lives. It can get a little dicey out there! So you might be relieved to hear this bridge has a secret guardian lurking under the eastern span, keeping us all safe: the Bay Bridge troll.\u003c/p>\n\u003cp>There have been a few trolls on the bridge over the years, but the legend of the first Bay Bridge troll begins in 1989.\u003c/p>\n\u003cp>The Loma Prieta earthquake — a magnitude 6.9 on the Richter scale — collapsed a large section of the upper deck of the Bay Bridge, “and honestly, if the earthquake would have continued for a few more seconds, the entire Eastern span would have collapsed,” said Bart Ney of Caltrans.\u003c/p>\n\u003cp>The repair work was done in about a month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The contractors and the state were working together out there around the clock, seven days a week,” said Ney. Crews on the bridge worked to install steel pieces fabricated, in part, at a shop in Oakland.\u003c/p>\n\u003cp>Workers from the Oakland shop contacted a local blacksmith and artist named Bill Roan with an idea — to build a gargoyle to protect the repaired bridge section.\u003c/p>\n\u003cp>Roan did his research and found that gargoyles are not typically bridge guardians, so he proposed something a little more useful.\u003c/p>\n\u003ch2>The troll is born\u003c/h2>\n\u003cblockquote>\u003cp>\u003cem>“Who’s that tripping over my bridge?” roared the troll … “Now, I’m coming to gobble you up.” — from “The Three Billy Goats Gruff”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The connection between trolls and bridges reaches back to the Norwegian fairy tale “The Three Billy Goats Gruff,” published in the 1840s. The tale finds three billy goats trying to cross a bridge under which lives a scary troll. The three goats outsmart the troll to pass. The story was translated into English in the 1850s, and since then, trolls and bridges became inextricably linked in pop culture. As for what a troll actually looks like or does, that changes from culture to culture, bridge to bridge.\u003c/p>\n\u003cp>Roan decided a troll was what the repaired Bay Bridge needed to ward off evil spirits — seismic or supernatural. The result, said Ney, was, “particularly special. It was crafted out of a piece of metal that was from the [collapsed] bridge. Bill said he was trying to make a particularly fierce troll.”\u003c/p>\n\u003cp>Ney said the troll has webbed feet and hands, for swimming. He’s holding “a giant wrench welded into a bolt. And, he has a really long tongue, I mean his tongue is almost as long as half of his body.”\u003c/p>\n\u003cp>One night, under the cover of darkness, “[the troll] was placed on the bridge segment, facing the outside so no one else would really see it,” said Ney. After the retrofit was completed, the troll stayed on the bridge.\u003c/p>\n\u003cp>“Ultimately (the troll) did a good job out there for 24 years because we had no further, bigger earthquakes that impacted the structure,” said Ney.\u003c/p>\n\u003cp>When Caltrans began construction on the new eastern span of the San Francisco-Oakland Bay Bridge in 2002, the troll’s artist, Bill Roan, offered to make a new troll for the new bridge. Ney said they turned him down: “You can’t bring that sort of thing in the front door! This is where we talk about science and technology. That’s magic. The original troll came to Caltrans, we didn’t ask for him, and a new troll would need to be of the same ilk.”\u003c/p>\n\u003cp>No formal plans were made for a new troll. In fact, Caltrans’s official policy was “benign noninterference.” But when the new eastern span opened in 2013, a new, slightly taller troll was unveiled one night. Perched high atop a pier, the 2-foot troll is made of solid steel. He’s got a beard and tools in his hands.\u003c/p>\n\u003ch2>Finding the troll\u003c/h2>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1448421406631292928"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11892166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11892166 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg\" alt=\"A view of painted white iron beams, with one metal figurine of a troll on a lower level in shadow, and a white-painted one in the light.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When searching for the Bay Bridge troll, you’ll find that there are at least two on the bridge. The lower troll is considered “the” troll. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Head out onto the \u003ca href=\"https://511.org/biking/bay-bridge-trail\">Bay Bridge Trail\u003c/a>, a few miles in, \u003ca href=\"https://maps.app.goo.gl/WSghR5uRTkX3w5rn8\">where the cable connects to the bridge deck\u003c/a>, look down under the roadway, and you’ll spot the modern Bay Bridge troll in the shadows, spinning magic to this day.\u003c/p>\n\u003cfigure id=\"attachment_11892167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11892167 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg\" alt=\"An angular dark metal figurine with legs and arms, holding tools, its feet affixed to the cement below it.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The troll is always in shadow. Apparently trolls don’t like the sun. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original troll, from the old bridge, now lives in retirement at the Caltrans office in Oakland, where Ney said the troll never allows himself to be forgotten.\u003c/p>\n\u003cp>“I’ll be dead and gone and people will still be talking about the troll,” Ney said. “Every time I get off the elevator and I see him there, I just have to give him a wink. I never miss him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d like to visit the original troll, visit him at the Caltrans office at 111 Grand Ave. in Oakland, California.\u003c/p>\n\u003cfigure id=\"attachment_11892168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11892168 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg\" alt=\"A smiling man in a black jacket and black pants poses in front of a glass case that hold a metal figurine of a fairly human-looking troll.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talking about the troll can be a bit of an annoyance for Bart Ney, the chief of public affairs at Caltrans District 4. But he admits that he gives the troll a wink every time he gets off the elevator. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11892152/the-tale-of-the-bay-bridge-troll","authors":["11749"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520","news_1397"],"tags":["news_231","news_943","news_21090","news_1285"],"featImg":"news_11892163","label":"source_news_11892152"},"news_11668265":{"type":"posts","id":"news_11668265","meta":{"index":"posts_1591205157","site":"news","id":"11668265","score":null,"sort":[1528365654000]},"guestAuthors":[],"slug":"the-serpent-statue-in-san-jose-that-people-think-is-something-else","title":"The Serpent Statue in San Jose That People Think Is Something Else","publishDate":1528365654,"format":"audio","headTitle":"The Serpent Statue in San Jose That People Think Is Something Else | KQED","labelTerm":{},"content":"\u003cp>In recent years, there have been a lot of political battles over public sculptures, mostly because those sculptures lionize figures from a past we’re not so proud of anymore. But in San Jose, debate has bubbled for decades over a sculpture that was intended to celebrate the city’s Mexican-American heritage.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>It’s a coiled snake made of Plaster of Paris and colored a dull earthy black. The snake is prominently placed on the south end of the Plaza de Cesar Chavez, a place where San Jose locals come to party, protest and just hang out.\u003c/p>\n\u003cp>If you stand near the sculpture long enough, local children will walk by and do a double take, before asking their parents, “Is that … poop?”\u003c/p>\n\u003cp>“I probably heard this story before, but it hasn’t stick [sic] to me and I keep wondering what it means,” says Daniel Fonseca. He is an interior designer and musician originally from Columbia who has lived in downtown San Jose for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11668307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11668307\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-800x450.jpg\" alt=\""Quetzalcoatl" by Robert Graham in San Jose's Plaza de Cesar Chavez, seen from behind.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Quetzalcoatl” by Robert Graham in San Jose’s Plaza de Cesar Chavez, seen from behind. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a little bit of sense. I mean, it’s related to the Mexican-American community, to the Aztec community, I want to think. But I never really stared at it and spend time with it and find out what the significance of it is,” says Fonseca.\u003c/p>\n\u003ch3>The Winged Serpent God\u003c/h3>\n\u003cp>The sculpture is of Quetzalcoatl (say que-tzal-coh-what-l), the Aztec god of wind and wisdom, commonly referred to as “the feathered serpent.” This iconic, dragonlike deity hails from Mesoamerican Teotihuacan, an ancient metropolis that once flourished northeast of modern-day Mexico City. Teotihuacan dominated the regional cultural landscape for centuries, and the art from Teotihuacan continues to resonate today throughout the Americas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You’ve seen Quetzalcoatl or his name, whether you realize it or not, all over the place, including on some Aeromexico planes.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=YF745ZrUDys]\u003c/p>\n\u003cp>Quetzalcoatl also shows up as a colorful monster in video games, and there’s a chocolate bar by Bay Area confectioners Guittard that is named \u003ca href=\"https://www.guittard.com/our-chocolate/detail/quetzalcoatl-bittersweet-chocolate-72-cacao\" target=\"_blank\" rel=\"noopener\">Quetzalcoatl\u003c/a>. (I tasted one for research purposes, and it was good.)\u003c/p>\n\u003cp>In fact, there are so many gorgeous depictions of Quetzalcoatl many people wonder how a sculpture that invites laughter plopped down in San Jose.\u003c/p>\n\u003ch3>How It Came To Be\u003c/h3>\n\u003cp>There is a plaque by the base of this sculpture, but as we’ll explain shortly, it doesn’t really do a good job of describing the sculpture. Instead, we ask for the backstory from Scott Herhold, a retired columnist for the \u003ca href=\"https://www.mercurynews.com/author/scott-herhold/\" target=\"_blank\" rel=\"noopener\">Mercury News\u003c/a> who periodically conducts tours of the public art in downtown San Jose.\u003c/p>\n\u003cp>He tells us that, back in the 1980s, San Jose’s Redevelopment Agency wanted a statue to honor Thomas Fallon, the 10th mayor of San Jose.\u003c/p>\n\u003cp>“He was an adventurer, an Irishman, one of the first Anglo settlers here,” Herhold says. “In 1846, he raised the flag, the American flag. Remember, this was part of Mexico still. From that point on, of course, San Jose really has been Anglo rather than Mexican.”\u003c/p>\n\u003cp>Well, it’s been Anglo \u003cem>and\u003c/em> Mexican-American, but Anglos dominated San Jose’s civic narrative for more than 100 years. But by 1988, when artist Robert Glen was commissioned to create a tribute to the Anglo hero, attitudes had changed. The Redevelopment Agency got blowback from the Mexican-American community. A new committee was established to pick a new artist.\u003c/p>\n\u003cp>Herhold continues, “They eventually settled on a man by the name of \u003ca href=\"http://www.robertgraham-artist.com/biography/bio.html\" target=\"_blank\" rel=\"noopener\">Robert Graham\u003c/a>. Graham had originally designed some work for the Redevelopment Agency. He was also part Latino himself.”\u003c/p>\n\u003cp>The San Jose State alum was highly regarded nationwide. His sculptures are on view all over the United States, including a commanding bronze memorial to \u003cspan class=\"bold\">Duke Ellington in New York’s Central Park and \u003c/span>a couple diminutive nudes outside the Federal Building in San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11668300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11668300\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-800x600.jpg\" alt=\"Two bronze nudes by Robert Graham at the western entrance of the federal building at 300 S. First Street in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two bronze nudes by Robert Graham at the western entrance of the Federal Building on S. First Street in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham’s first drawings of Quetzalcoatl were of a winged creature. “They liked it very much,” Herhold says, pausing for effect. “It came out differently than they thought.”\u003c/p>\n\u003cp>There is a plaque at the base of the sculpture, but it doesn’t describe what you’re looking at. It describes a concept that was killed. “The winged serpent showed him sort of upright, with the wings out. Think almost of a peacock. It had that kind of feel to it,” Herhold says.\u003c/p>\n\u003cp>About six weeks before the unveiling, he says, Graham told the Redevelopment Agency that his concept had changed. “It was just a change in his artist conception.”\u003c/p>\n\u003ch3>Conflicting Stories\u003c/h3>\n\u003cp>I should stop here and tell you that’s not what Blanca Alvarado remembers. The retired San Jose politician was on the committee that worked with Graham, and her story differs from Herhold’s.\u003c/p>\n\u003cp>“I think Scott and I need a little bit of time, and he needs a little more education, so that as he describes the piece on his tour, he’ll be better informed,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11668278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11668278\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/file-13-800x491.jpg\" alt=\"The plaque at the base of the sculpture talks about the “plumed serpent,” but this is no plumed serpent. Confusing. Former Mercury News columnist Scott Herhold explains the plaque is referring to artist Robert Graham’s original concept. \" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-1020x626.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-1200x737.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-375x230.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-520x319.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13.jpg 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaque at the base of the sculpture talks about the “plumed serpent,” but this is no plumed serpent. Confusing. Former Mercury News columnist Scott Herhold explains the plaque is referring to artist Robert Graham’s original concept. \u003ccite>(Photo: Courtesy of Michael Ogilvie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarado says she also preferred Graham’s first, winged take on Quetzalcoatl. “It was quite elegant. It was a very, very beautiful piece.”\u003c/p>\n\u003cp>Alvarado says that Graham’s original sculpture was axed by the Redevelopment Agency. They worried that the domed pedestal he proposed would become an attractive place to sleep for homeless people.\u003c/p>\n\u003cp>“He was very frustrated by that objection. So he went to Mexico, and he stood there for three months at Teotihuacan, and he studied the stonework,” says Alvarado.\u003c/p>\n\u003cp>His second proposal stems directly from that study. The coiled, stylized rattlesnake version of Queztecoatl was a thing, is a thing. \u003cem>Coatl\u003c/em>, after all, means serpent in the Aztec language Nahuatl.\u003c/p>\n\u003cp>Graham made a small version of his final sculpture as a gift for Alvarado. She doesn’t know what material he used, but it’s green, the color of oxidized copper. It now sits in her backyard and it’s quite lovely.\u003c/p>\n\u003cfigure id=\"attachment_11668293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11668293 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-800x898.jpg\" alt=\"She doesn’t know what material he used but it’s green, the color of oxidized copper, and it’s quite lovely.\" width=\"800\" height=\"898\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-800x898.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-160x180.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-1020x1145.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-1069x1200.jpg 1069w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-1180x1324.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-960x1078.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-240x269.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-375x421.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-520x584.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blanca Alvarado doesn’t know what material was used but it’s green, the color of oxidized copper, and it’s quite lovely. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The thing is, Graham opted for his sculpture in the park to be that earthy black and, coiled as it is, it suggests something else. Intentionally so? That’s an open question.\u003c/p>\n\u003ch3>Graham’s (Possible) Revenge\u003c/h3>\n\u003cp>“I think it’s fundamentally an act of revenge,” Herhold says.\u003c/p>\n\u003cp>Is Herhold telling us Graham wanted revenge because his fabulous proposal for a winged serpent got the ax? No. Herhold thinks it’s revenge for an entirely different project.\u003c/p>\n\u003cp>“Robert Graham had designed, as I mentioned, some work for the Redevelopment Agenc\u003cspan style=\"color: #000000\">y. The initial idea was to build gateways on the four sides of the city. So one on the south, one on the north, one on the west and one on the e\u003c/span>ast. And the Redevelopment Agency showed the media some pictures of this, and the Mercury News in particular sort of said thumbs-down to this. This is a silly idea, these gateways. So Graham had to withdraw that idea. And the feeling, at least among the Redevelopment Agency people I know, was that this was his act of revenge for the loss of that earlier commission,” says Herhold.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>He has written about this in the \u003ca href=\"https://www.mercurynews.com/2017/10/16/quetzalcoatl-sculpture-back-in-the-public-eye/\" target=\"_blank\" rel=\"noopener\">Mercury News\u003c/a>.\u003c/p>\n\u003cp>How can he be so sure that the Quetzalcoatl sculpture is indeed an act of revenge?\u003c/p>\n\u003cp>Herhold acknowledges, “I don’t think you can be sure. Graham is now dead, and as far as I know, he never specifically said this was an act of revenge. But I can tell you the people that I know who were very well placed in the Redevelopment Agency, and even his mother, say this was his revenge.”\u003c/p>\n\u003cp>That prompts this response from our Bay Curious question asker Daniel Fonseca. “If it was an act of revenge, I think it was very well captured, you know, because that is the first reaction: poop!”\u003c/p>\n\u003cp>But then Fonseca adds, “There must be a way to elevate this sculpture, to not have ‘poop’ be the first thing that you think. Like add some gardens around. Something that will bring out its significance. It’s set on a pedestal, so even the pedestal could be painted. It clearly needs some work.”\u003c/p>\n\u003cp>On that score, at least, Blanca Alvarado agrees. “It needs some sprucing up,” she says.\u003c/p>\n\u003cp>The sculpture was recently power-washed, but that’s it for the foreseeable future, according to San Jose’s \u003ca href=\"http://www.sanjoseculture.org/Facilities/Facility/Details/Public-Art-Plumed-Serpent-Plaza-de-Csar--498\" target=\"_blank\" rel=\"noopener\">Office of Cultural Affairs, \u003c/a>which maintains the installation.\u003c/p>\n\u003cp>That said, Alvarado is a veteran political activist, and she says she’s fixing to get busy at City Hall, pushing for some imaginative improvement to San Jose’s Queztecoatl.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"Is the Quetzalcoatl sculpture in San Jose the best tribute to the city's Mexican heritage? It's a matter of debate.","status":"publish","parent":0,"modified":1700596820,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":43,"wordCount":1620},"headData":{"title":"The Serpent Statue in San Jose That People Think Is Something Else | KQED","description":"Is the Quetzalcoatl sculpture in San Jose the best tribute to the city's Mexican heritage? It's a matter of debate.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The Serpent Statue in San Jose That People Think Is Something Else","datePublished":"2018-06-07T10:00:54.000Z","dateModified":"2023-11-21T20:00:20.000Z","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/news/series/baycurious","path":"/news/11668265/the-serpent-statue-in-san-jose-that-people-think-is-something-else","audioUrl":"https://www.kqed.org/.stream/anon/radio/new-bay-curious/2018/05/BCQuetzalcoatl.mp3","audioDuration":680000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, there have been a lot of political battles over public sculptures, mostly because those sculptures lionize figures from a past we’re not so proud of anymore. But in San Jose, debate has bubbled for decades over a sculpture that was intended to celebrate the city’s Mexican-American heritage.\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>It’s a coiled snake made of Plaster of Paris and colored a dull earthy black. The snake is prominently placed on the south end of the Plaza de Cesar Chavez, a place where San Jose locals come to party, protest and just hang out.\u003c/p>\n\u003cp>If you stand near the sculpture long enough, local children will walk by and do a double take, before asking their parents, “Is that … poop?”\u003c/p>\n\u003cp>“I probably heard this story before, but it hasn’t stick [sic] to me and I keep wondering what it means,” says Daniel Fonseca. He is an interior designer and musician originally from Columbia who has lived in downtown San Jose for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11668307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11668307\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-800x450.jpg\" alt=\""Quetzalcoatl" by Robert Graham in San Jose's Plaza de Cesar Chavez, seen from behind.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30926_Photo-Mar-08-9-43-06-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Quetzalcoatl” by Robert Graham in San Jose’s Plaza de Cesar Chavez, seen from behind. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a little bit of sense. I mean, it’s related to the Mexican-American community, to the Aztec community, I want to think. But I never really stared at it and spend time with it and find out what the significance of it is,” says Fonseca.\u003c/p>\n\u003ch3>The Winged Serpent God\u003c/h3>\n\u003cp>The sculpture is of Quetzalcoatl (say que-tzal-coh-what-l), the Aztec god of wind and wisdom, commonly referred to as “the feathered serpent.” This iconic, dragonlike deity hails from Mesoamerican Teotihuacan, an ancient metropolis that once flourished northeast of modern-day Mexico City. Teotihuacan dominated the regional cultural landscape for centuries, and the art from Teotihuacan continues to resonate today throughout the Americas.\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>You’ve seen Quetzalcoatl or his name, whether you realize it or not, all over the place, including on some Aeromexico planes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YF745ZrUDys'\n title='//www.youtube.com/embed/YF745ZrUDys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Quetzalcoatl also shows up as a colorful monster in video games, and there’s a chocolate bar by Bay Area confectioners Guittard that is named \u003ca href=\"https://www.guittard.com/our-chocolate/detail/quetzalcoatl-bittersweet-chocolate-72-cacao\" target=\"_blank\" rel=\"noopener\">Quetzalcoatl\u003c/a>. (I tasted one for research purposes, and it was good.)\u003c/p>\n\u003cp>In fact, there are so many gorgeous depictions of Quetzalcoatl many people wonder how a sculpture that invites laughter plopped down in San Jose.\u003c/p>\n\u003ch3>How It Came To Be\u003c/h3>\n\u003cp>There is a plaque by the base of this sculpture, but as we’ll explain shortly, it doesn’t really do a good job of describing the sculpture. Instead, we ask for the backstory from Scott Herhold, a retired columnist for the \u003ca href=\"https://www.mercurynews.com/author/scott-herhold/\" target=\"_blank\" rel=\"noopener\">Mercury News\u003c/a> who periodically conducts tours of the public art in downtown San Jose.\u003c/p>\n\u003cp>He tells us that, back in the 1980s, San Jose’s Redevelopment Agency wanted a statue to honor Thomas Fallon, the 10th mayor of San Jose.\u003c/p>\n\u003cp>“He was an adventurer, an Irishman, one of the first Anglo settlers here,” Herhold says. “In 1846, he raised the flag, the American flag. Remember, this was part of Mexico still. From that point on, of course, San Jose really has been Anglo rather than Mexican.”\u003c/p>\n\u003cp>Well, it’s been Anglo \u003cem>and\u003c/em> Mexican-American, but Anglos dominated San Jose’s civic narrative for more than 100 years. But by 1988, when artist Robert Glen was commissioned to create a tribute to the Anglo hero, attitudes had changed. The Redevelopment Agency got blowback from the Mexican-American community. A new committee was established to pick a new artist.\u003c/p>\n\u003cp>Herhold continues, “They eventually settled on a man by the name of \u003ca href=\"http://www.robertgraham-artist.com/biography/bio.html\" target=\"_blank\" rel=\"noopener\">Robert Graham\u003c/a>. Graham had originally designed some work for the Redevelopment Agency. He was also part Latino himself.”\u003c/p>\n\u003cp>The San Jose State alum was highly regarded nationwide. His sculptures are on view all over the United States, including a commanding bronze memorial to \u003cspan class=\"bold\">Duke Ellington in New York’s Central Park and \u003c/span>a couple diminutive nudes outside the Federal Building in San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11668300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11668300\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-800x600.jpg\" alt=\"Two bronze nudes by Robert Graham at the western entrance of the federal building at 300 S. First Street in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30924_Photo-Mar-12-12-59-55-PM-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two bronze nudes by Robert Graham at the western entrance of the Federal Building on S. First Street in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham’s first drawings of Quetzalcoatl were of a winged creature. “They liked it very much,” Herhold says, pausing for effect. “It came out differently than they thought.”\u003c/p>\n\u003cp>There is a plaque at the base of the sculpture, but it doesn’t describe what you’re looking at. It describes a concept that was killed. “The winged serpent showed him sort of upright, with the wings out. Think almost of a peacock. It had that kind of feel to it,” Herhold says.\u003c/p>\n\u003cp>About six weeks before the unveiling, he says, Graham told the Redevelopment Agency that his concept had changed. “It was just a change in his artist conception.”\u003c/p>\n\u003ch3>Conflicting Stories\u003c/h3>\n\u003cp>I should stop here and tell you that’s not what Blanca Alvarado remembers. The retired San Jose politician was on the committee that worked with Graham, and her story differs from Herhold’s.\u003c/p>\n\u003cp>“I think Scott and I need a little bit of time, and he needs a little more education, so that as he describes the piece on his tour, he’ll be better informed,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11668278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11668278\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/file-13-800x491.jpg\" alt=\"The plaque at the base of the sculpture talks about the “plumed serpent,” but this is no plumed serpent. Confusing. Former Mercury News columnist Scott Herhold explains the plaque is referring to artist Robert Graham’s original concept. \" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-1020x626.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-1200x737.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-375x230.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13-520x319.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/file-13.jpg 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaque at the base of the sculpture talks about the “plumed serpent,” but this is no plumed serpent. Confusing. Former Mercury News columnist Scott Herhold explains the plaque is referring to artist Robert Graham’s original concept. \u003ccite>(Photo: Courtesy of Michael Ogilvie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarado says she also preferred Graham’s first, winged take on Quetzalcoatl. “It was quite elegant. It was a very, very beautiful piece.”\u003c/p>\n\u003cp>Alvarado says that Graham’s original sculpture was axed by the Redevelopment Agency. They worried that the domed pedestal he proposed would become an attractive place to sleep for homeless people.\u003c/p>\n\u003cp>“He was very frustrated by that objection. So he went to Mexico, and he stood there for three months at Teotihuacan, and he studied the stonework,” says Alvarado.\u003c/p>\n\u003cp>His second proposal stems directly from that study. The coiled, stylized rattlesnake version of Queztecoatl was a thing, is a thing. \u003cem>Coatl\u003c/em>, after all, means serpent in the Aztec language Nahuatl.\u003c/p>\n\u003cp>Graham made a small version of his final sculpture as a gift for Alvarado. She doesn’t know what material he used, but it’s green, the color of oxidized copper. It now sits in her backyard and it’s quite lovely.\u003c/p>\n\u003cfigure id=\"attachment_11668293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11668293 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-800x898.jpg\" alt=\"She doesn’t know what material he used but it’s green, the color of oxidized copper, and it’s quite lovely.\" width=\"800\" height=\"898\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-800x898.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-160x180.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-1020x1145.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-1069x1200.jpg 1069w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-1180x1324.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-960x1078.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-240x269.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-375x421.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30923_IMG_6491-2-qut-520x584.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blanca Alvarado doesn’t know what material was used but it’s green, the color of oxidized copper, and it’s quite lovely. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The thing is, Graham opted for his sculpture in the park to be that earthy black and, coiled as it is, it suggests something else. Intentionally so? That’s an open question.\u003c/p>\n\u003ch3>Graham’s (Possible) Revenge\u003c/h3>\n\u003cp>“I think it’s fundamentally an act of revenge,” Herhold says.\u003c/p>\n\u003cp>Is Herhold telling us Graham wanted revenge because his fabulous proposal for a winged serpent got the ax? No. Herhold thinks it’s revenge for an entirely different project.\u003c/p>\n\u003cp>“Robert Graham had designed, as I mentioned, some work for the Redevelopment Agenc\u003cspan style=\"color: #000000\">y. The initial idea was to build gateways on the four sides of the city. So one on the south, one on the north, one on the west and one on the e\u003c/span>ast. And the Redevelopment Agency showed the media some pictures of this, and the Mercury News in particular sort of said thumbs-down to this. This is a silly idea, these gateways. So Graham had to withdraw that idea. And the feeling, at least among the Redevelopment Agency people I know, was that this was his act of revenge for the loss of that earlier commission,” says Herhold.\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>He has written about this in the \u003ca href=\"https://www.mercurynews.com/2017/10/16/quetzalcoatl-sculpture-back-in-the-public-eye/\" target=\"_blank\" rel=\"noopener\">Mercury News\u003c/a>.\u003c/p>\n\u003cp>How can he be so sure that the Quetzalcoatl sculpture is indeed an act of revenge?\u003c/p>\n\u003cp>Herhold acknowledges, “I don’t think you can be sure. Graham is now dead, and as far as I know, he never specifically said this was an act of revenge. But I can tell you the people that I know who were very well placed in the Redevelopment Agency, and even his mother, say this was his revenge.”\u003c/p>\n\u003cp>That prompts this response from our Bay Curious question asker Daniel Fonseca. “If it was an act of revenge, I think it was very well captured, you know, because that is the first reaction: poop!”\u003c/p>\n\u003cp>But then Fonseca adds, “There must be a way to elevate this sculpture, to not have ‘poop’ be the first thing that you think. Like add some gardens around. Something that will bring out its significance. It’s set on a pedestal, so even the pedestal could be painted. It clearly needs some work.”\u003c/p>\n\u003cp>On that score, at least, Blanca Alvarado agrees. “It needs some sprucing up,” she says.\u003c/p>\n\u003cp>The sculpture was recently power-washed, but that’s it for the foreseeable future, according to San Jose’s \u003ca href=\"http://www.sanjoseculture.org/Facilities/Facility/Details/Public-Art-Plumed-Serpent-Plaza-de-Csar--498\" target=\"_blank\" rel=\"noopener\">Office of Cultural Affairs, \u003c/a>which maintains the installation.\u003c/p>\n\u003cp>That said, Alvarado is a veteran political activist, and she says she’s fixing to get busy at City Hall, pushing for some imaginative improvement to San Jose’s Queztecoatl.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11668265/the-serpent-statue-in-san-jose-that-people-think-is-something-else","authors":["251"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_18426","news_21090","news_2011","news_18541","news_1285"],"featImg":"news_11668297","label":"source_news_11668265"},"news_11634055":{"type":"posts","id":"news_11634055","meta":{"index":"posts_1591205157","site":"news","id":"11634055","score":null,"sort":[1513461602000]},"guestAuthors":[],"slug":"in-san-francisco-new-public-art-you-cant-avoid-seeing","title":"In San Francisco, New Public Art You Can't Avoid Seeing","publishDate":1513461602,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{},"content":"\u003cp>As the tallest building in San Francisco, Salesforce Tower is the new center of the city skyline. And as soon as January, the top of the tower will also become a work of public art created by San Francisco visual artist Jim Campbell, 61.\u003c/p>\n\u003cp>During the day, cameras installed around San Francisco will record movements like waves crashing on Ocean Beach, trees blowing in Golden Gate Park, and pedestrians crossing Market Street. At night, the images will be projected onto the top of Salesforce Tower like a visual diary of the day.\u003c/p>\n\u003cp>The permanent installation is called “Day for Night.” Campbell says he named it after the filmmaking technique where a scene is lit during the day to make it look like it is night.\u003c/p>\n\u003cp>Salesforce Tower is 1,070 feet tall and has 61 floors of office space wrapped in glass. But the top six floors, called the crown, are wrapped with over a hundred and thirty perforated aluminum panels. The components in “Day For Night” are installed directly into these panels, with about eighty pixels bolted to each aluminum panel. In total, over 11,000 pixels will create a hundred-foot tall circular LED screen.\u003c/p>\n\u003cp>Campbell says during a trip to Hong Kong, he watched the skyline blaze and blink like an elaborate LED light show, and thought that it wasn’t a very pleasant aesthetic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So a part of me was: ‘why am I creating this thing that I don’t necessarily believe in from an urban planning perspective?’ he recalls. “On the other hand, I took that as a challenge, and said: ‘Okay, what can I do in this skyline that will work, that will fit in without completely changing the skyline?’ I really don’t want to do something that I would call spectacular. I don’t want it to be flashy.”\u003c/p>\n\u003cfigure id=\"attachment_11637551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg\" alt=\"Artist's rendering of the "Day for Night" installation atop Salesforce Tower in San Francisco.\" width=\"800\" height=\"798\" class=\"size-medium wp-image-11637551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-1020x1017.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-960x957.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-240x239.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-375x374.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-520x519.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower.jpg 1114w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist's rendering of the \"Day for Night\" installation atop Salesforce Tower in San Francisco. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To start, Campbell changed the way the pixels are mounted by turning them inward. On the buildings in Hong Kong, the pixels face away from the building, shining bright light into the sky.\u003c/p>\n\u003cp>On Salesforce Tower, they extend outward from the panels — like camping headlamps on selfie sticks — and shine light back at the aluminum panels, creating a soft glow against the gray aluminum.\u003c/p>\n\u003cp>The moving images will be low-resolution, kind of blurry, so you might not be able to determine what the image is at first glance. As far as Campbell knows, it’s the first time pixels have been installed this way on a building and the first time public art will become part of the city skyline in this way. But even he isn’t completely certain about it.\u003c/p>\n\u003cp>“I see this more and more as a big experiment,” he says. “What could go wrong is that people don’t want to see an image in the sky. We don’t know. Do you know if you want to or not? I don’t.”\u003c/p>\n\u003ch2>‘Unachievable High Plateau’\u003c/h2>\n\u003cp>Today, Campbell’s artwork hangs in major museums worldwide. His public art is installed in places like Grace Cathedral, the San Diego Airport, Dallas Cowboys Stadium and Battery Park.\u003c/p>\n\u003cp>But as a kid, becoming an artist was never a possibility. He grew up in a lower-middle-class suburb of Chicago and says, “I never met an artist, so I never knew it was an option.”\u003c/p>\n\u003cfigure id=\"attachment_11637554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/JimCampbell-800x450.jpg\" alt=\"Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11637554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built. \u003ccite>(Courtesy Jim Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He graduated from MIT in 1978 with degrees in mathematics and electrical engineering. In Silicon Valley, he worked on algorithms to convert standard definition TV images into high-definition TV images. In his spare time, he created digital art in a studio converted from his Potrero Hill home’s garage.\u003c/p>\n\u003cp>“I was doing art for at least ten years before I called myself an artist,” he says. “I always had artists on this unachievable high plateau.”\u003c/p>\n\u003cp>He stopped doing what he considers “serious engineering,” but still designs the electronic components used in his art, including the pixels used on Salesforce Tower.\u003c/p>\n\u003cp>Much of Campbell’s work has explored the boundaries of perception. And with “Day for Night,” he wants to challenge what we expect to see in a skyline.\u003c/p>\n\u003cp>“It’s an interesting public-art challenge,” he explains, “in that a million people are going to see this at night, whether they want to or not. So it’s a challenge, to have it fit in, have it be subtle, have it be engaging, changing, and dynamic.”\u003c/p>\n\u003ch2>San Francisco's Anti-High Rise History\u003c/h2>\n\u003cp>San Francisco has hardly been a city to embrace changes to its skyline. In the 1960s, where residents saw natural hills downtown, developers saw opportunity. Big, boxy buildings shot-up without oversight.\u003c/p>\n\u003cp>Joshua Switzky, a lead planner with the San Francisco Planning Department, says a backlash against tall office buildings took root among critics and residents.\u003c/p>\n\u003cp>“That created the planning framework to more consciously shape the city’s skyline based on public values and intention, and not on private initiative,” Switzky says.\u003c/p>\n\u003cp>That framework, he says, was called the Downtown Plan. “That plan required that tall buildings taper as they got taller and emphasized more delicate and interesting tops of buildings,” Switzky says.\u003c/p>\n\u003cp>To avoid refrigerator-like buildings, the plan required tops to be complex, decorative, sculptured, intricate, expressive. Architects bristled. Allan Temko, San Francisco Chronicle’s architecture critic at the time, quipped that San Francisco wouldn’t need architects, but milliners. \u003c/p>\n\u003cp>“Putting silly hats on tops of buildings,” Switzky explains, “and there certainly are buildings that that’s probably a fair representation.”\u003c/p>\n\u003cp>An “anti-high rise” movement was born. Back then, Tim Redmond was a reporter for the progressive publication, The San Francisco Bay Guardian. Today he’s the editor of 48hills.org, the Guardian’s online successor.\u003c/p>\n\u003cp>Redmond says the movement wasn’t against high-rises or how they looked. “It was more than that. It was an urban-environmental movement that wanted reasonable, rational planning in the city.”\u003c/p>\n\u003cp>“When you do commercial office development, you attract workers to those buildings. How are they going to get there? Where are going to live? What’s going to happen if they need emergency services? And who’s going to pay for all of that?” Not the developers, he says.\u003c/p>\n\u003cfigure id=\"attachment_11637556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/TowerFromPark-800x485.jpg\" alt=\"A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\" width=\"800\" height=\"485\" class=\"size-medium wp-image-11637556\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-240x146.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-375x227.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\u003cbr> \u003ccite>(TORBAKHOPPER/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sat in Dolores Park overlooking Mission residential neighborhoods in the foreground with the downtown skyline rising beyond.\u003c/p>\n\u003cp>“Thirty years ago there were low income working class people living here,” he said. “And most of them are gone and that’s because of what I see right over their heads. That’s because of what I see downtown.”\u003c/p>\n\u003cp>The Downtown Plan requires developers to pay one percent of construction costs for public art like Jim Campbell’s. Redmond says high-rise developers should fund housing in the same way. Still, Redmond supports the fee.\u003c/p>\n\u003cp>“I’m glad that we require a fee for public art,” Redmond says. “And that’s a wonderful thing. I’m all in favor, I’m glad they’re doing it. What is that going to do for the family who is being evicted in the Mission because the landlord wants to rent it out to someone who works in Salesforce Tower?”\u003c/p>\n\u003cp>The planning department still dictates the aesthetics of San Francisco urban design, but it has no oversight on the actual art. So here, it’s the developer, Boston Properties, and Jim Campbell, who get final say over the new “hat” that will top Salesforce Tower.\u003c/p>\n\u003cp>Whether people like seeing images on the tower or not, the San Francisco skyline is about to change, as fast as the city it reflects.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This story originally aired on \u003ca href=\"http://kalw.org/post/public-art-expected-change-san-francisco-skyline#stream/0\" rel=\"noopener\" target=\"_blank\">KALW\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Images recorded around the city during the day will be projected onto the top of the new Salesforce Tower at night, visible up to 50 miles away.","status":"publish","parent":0,"modified":1513456437,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1414},"headData":{"title":"In San Francisco, New Public Art You Can't Avoid Seeing | KQED","description":"Images recorded around the city during the day will be projected onto the top of the new Salesforce Tower at night, visible up to 50 miles away.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"In San Francisco, New Public Art You Can't Avoid Seeing","datePublished":"2017-12-16T22:00:02.000Z","dateModified":"2017-12-16T20:33:57.000Z","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":"11634055 https://ww2.kqed.org/news/?p=11634055","disqusUrl":"https://ww2.kqed.org/news/2017/12/16/in-san-francisco-new-public-art-you-cant-avoid-seeing/","disqusTitle":"In San Francisco, New Public Art You Can't Avoid Seeing","source":"KALW","sourceUrl":"http://kalw.org/","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/12/SalesforceTower.mp3","nprByline":"\u003cstrong>Cari Spivack\u003c/strong>","path":"/news/11634055/in-san-francisco-new-public-art-you-cant-avoid-seeing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the tallest building in San Francisco, Salesforce Tower is the new center of the city skyline. And as soon as January, the top of the tower will also become a work of public art created by San Francisco visual artist Jim Campbell, 61.\u003c/p>\n\u003cp>During the day, cameras installed around San Francisco will record movements like waves crashing on Ocean Beach, trees blowing in Golden Gate Park, and pedestrians crossing Market Street. At night, the images will be projected onto the top of Salesforce Tower like a visual diary of the day.\u003c/p>\n\u003cp>The permanent installation is called “Day for Night.” Campbell says he named it after the filmmaking technique where a scene is lit during the day to make it look like it is night.\u003c/p>\n\u003cp>Salesforce Tower is 1,070 feet tall and has 61 floors of office space wrapped in glass. But the top six floors, called the crown, are wrapped with over a hundred and thirty perforated aluminum panels. The components in “Day For Night” are installed directly into these panels, with about eighty pixels bolted to each aluminum panel. In total, over 11,000 pixels will create a hundred-foot tall circular LED screen.\u003c/p>\n\u003cp>Campbell says during a trip to Hong Kong, he watched the skyline blaze and blink like an elaborate LED light show, and thought that it wasn’t a very pleasant aesthetic.\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>“So a part of me was: ‘why am I creating this thing that I don’t necessarily believe in from an urban planning perspective?’ he recalls. “On the other hand, I took that as a challenge, and said: ‘Okay, what can I do in this skyline that will work, that will fit in without completely changing the skyline?’ I really don’t want to do something that I would call spectacular. I don’t want it to be flashy.”\u003c/p>\n\u003cfigure id=\"attachment_11637551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg\" alt=\"Artist's rendering of the "Day for Night" installation atop Salesforce Tower in San Francisco.\" width=\"800\" height=\"798\" class=\"size-medium wp-image-11637551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-800x798.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-1020x1017.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-960x957.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-240x239.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-375x374.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-520x519.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/SalesforceTopTower.jpg 1114w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist's rendering of the \"Day for Night\" installation atop Salesforce Tower in San Francisco. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To start, Campbell changed the way the pixels are mounted by turning them inward. On the buildings in Hong Kong, the pixels face away from the building, shining bright light into the sky.\u003c/p>\n\u003cp>On Salesforce Tower, they extend outward from the panels — like camping headlamps on selfie sticks — and shine light back at the aluminum panels, creating a soft glow against the gray aluminum.\u003c/p>\n\u003cp>The moving images will be low-resolution, kind of blurry, so you might not be able to determine what the image is at first glance. As far as Campbell knows, it’s the first time pixels have been installed this way on a building and the first time public art will become part of the city skyline in this way. But even he isn’t completely certain about it.\u003c/p>\n\u003cp>“I see this more and more as a big experiment,” he says. “What could go wrong is that people don’t want to see an image in the sky. We don’t know. Do you know if you want to or not? I don’t.”\u003c/p>\n\u003ch2>‘Unachievable High Plateau’\u003c/h2>\n\u003cp>Today, Campbell’s artwork hangs in major museums worldwide. His public art is installed in places like Grace Cathedral, the San Diego Airport, Dallas Cowboys Stadium and Battery Park.\u003c/p>\n\u003cp>But as a kid, becoming an artist was never a possibility. He grew up in a lower-middle-class suburb of Chicago and says, “I never met an artist, so I never knew it was an option.”\u003c/p>\n\u003cfigure id=\"attachment_11637554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/JimCampbell-800x450.jpg\" alt=\"Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11637554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/JimCampbell-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell (R) and Sean McGowen on the roof of Salesforce Tower before the crown was built. \u003ccite>(Courtesy Jim Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He graduated from MIT in 1978 with degrees in mathematics and electrical engineering. In Silicon Valley, he worked on algorithms to convert standard definition TV images into high-definition TV images. In his spare time, he created digital art in a studio converted from his Potrero Hill home’s garage.\u003c/p>\n\u003cp>“I was doing art for at least ten years before I called myself an artist,” he says. “I always had artists on this unachievable high plateau.”\u003c/p>\n\u003cp>He stopped doing what he considers “serious engineering,” but still designs the electronic components used in his art, including the pixels used on Salesforce Tower.\u003c/p>\n\u003cp>Much of Campbell’s work has explored the boundaries of perception. And with “Day for Night,” he wants to challenge what we expect to see in a skyline.\u003c/p>\n\u003cp>“It’s an interesting public-art challenge,” he explains, “in that a million people are going to see this at night, whether they want to or not. So it’s a challenge, to have it fit in, have it be subtle, have it be engaging, changing, and dynamic.”\u003c/p>\n\u003ch2>San Francisco's Anti-High Rise History\u003c/h2>\n\u003cp>San Francisco has hardly been a city to embrace changes to its skyline. In the 1960s, where residents saw natural hills downtown, developers saw opportunity. Big, boxy buildings shot-up without oversight.\u003c/p>\n\u003cp>Joshua Switzky, a lead planner with the San Francisco Planning Department, says a backlash against tall office buildings took root among critics and residents.\u003c/p>\n\u003cp>“That created the planning framework to more consciously shape the city’s skyline based on public values and intention, and not on private initiative,” Switzky says.\u003c/p>\n\u003cp>That framework, he says, was called the Downtown Plan. “That plan required that tall buildings taper as they got taller and emphasized more delicate and interesting tops of buildings,” Switzky says.\u003c/p>\n\u003cp>To avoid refrigerator-like buildings, the plan required tops to be complex, decorative, sculptured, intricate, expressive. Architects bristled. Allan Temko, San Francisco Chronicle’s architecture critic at the time, quipped that San Francisco wouldn’t need architects, but milliners. \u003c/p>\n\u003cp>“Putting silly hats on tops of buildings,” Switzky explains, “and there certainly are buildings that that’s probably a fair representation.”\u003c/p>\n\u003cp>An “anti-high rise” movement was born. Back then, Tim Redmond was a reporter for the progressive publication, The San Francisco Bay Guardian. Today he’s the editor of 48hills.org, the Guardian’s online successor.\u003c/p>\n\u003cp>Redmond says the movement wasn’t against high-rises or how they looked. “It was more than that. It was an urban-environmental movement that wanted reasonable, rational planning in the city.”\u003c/p>\n\u003cp>“When you do commercial office development, you attract workers to those buildings. How are they going to get there? Where are going to live? What’s going to happen if they need emergency services? And who’s going to pay for all of that?” Not the developers, he says.\u003c/p>\n\u003cfigure id=\"attachment_11637556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/TowerFromPark-800x485.jpg\" alt=\"A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\" width=\"800\" height=\"485\" class=\"size-medium wp-image-11637556\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-240x146.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-375x227.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/TowerFromPark-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Dolores Park of the San Francisco skyline with the Salesforce Tower in the center.\u003cbr> \u003ccite>(TORBAKHOPPER/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sat in Dolores Park overlooking Mission residential neighborhoods in the foreground with the downtown skyline rising beyond.\u003c/p>\n\u003cp>“Thirty years ago there were low income working class people living here,” he said. “And most of them are gone and that’s because of what I see right over their heads. That’s because of what I see downtown.”\u003c/p>\n\u003cp>The Downtown Plan requires developers to pay one percent of construction costs for public art like Jim Campbell’s. Redmond says high-rise developers should fund housing in the same way. Still, Redmond supports the fee.\u003c/p>\n\u003cp>“I’m glad that we require a fee for public art,” Redmond says. “And that’s a wonderful thing. I’m all in favor, I’m glad they’re doing it. What is that going to do for the family who is being evicted in the Mission because the landlord wants to rent it out to someone who works in Salesforce Tower?”\u003c/p>\n\u003cp>The planning department still dictates the aesthetics of San Francisco urban design, but it has no oversight on the actual art. So here, it’s the developer, Boston Properties, and Jim Campbell, who get final say over the new “hat” that will top Salesforce Tower.\u003c/p>\n\u003cp>Whether people like seeing images on the tower or not, the San Francisco skyline is about to change, as fast as the city it reflects.\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>This story originally aired on \u003ca href=\"http://kalw.org/post/public-art-expected-change-san-francisco-skyline#stream/0\" rel=\"noopener\" target=\"_blank\">KALW\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11634055/in-san-francisco-new-public-art-you-cant-avoid-seeing","authors":["byline_news_11634055"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_406","news_21090","news_6467","news_38","news_17286"],"featImg":"news_11637459","label":"source_news_11634055"},"news_11500235":{"type":"posts","id":"news_11500235","meta":{"index":"posts_1591205157","site":"news","id":"11500235","score":null,"sort":[1496966421000]},"guestAuthors":[],"slug":"city-of-sf-cancels-multimillion-dollar-transbay-terminal-art-project","title":"S.F. Cancels Multimillion-Dollar Transbay Terminal Art Project","publishDate":1496966421,"format":"standard","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>A 41-foot-high art installation that the city of San Francisco planned to unveil as part of its new $6 billion \u003ca href=\"http://transbaycenter.org/project/transit-center\" target=\"_blank\" rel=\"noopener noreferrer\">Transbay Transit Center\u003c/a> has been canceled and its lead artist released from his contract.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) and Transbay Joint Powers Authority (TJPA) hired artist \u003ca href=\"http://transbaycenter.org/artists/tim-hawkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Tim Hawkinson\u003c/a> to create the installation using materials salvaged from the old Transbay Terminal. It was to be one of five major public art installations planned for the new center.\u003c/p>\n\u003cp>The art installation was originally budgeted at $1.67 million. But the TJPA and SFAC decided to cancel the project after they realized that the actual cost of completing the artwork would come in around $3.7 million. They also said the project would be overdue and it wouldn’t debut until after the transit center opened.\u003c/p>\n\u003cp>In a statement released Wednesday, the TJPA said the sculpture “has proven to be a particularly complex engineering task.” The statement cited “the nature of the materials, the sculpture’s size, and its location” as reasons for the cancellation.\u003c/p>\n\u003cp>In a statement sent to KQED, SFAC spokeswoman Kate Patterson cited many of the same reasons. Patterson also said she hopes SFAC will get to work with the artist again. “Tim Hawkinson is a brilliant artist,” Patterson said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The TJPA said it has spent $840,000 of the original budget on salvaging and moving materials for the project and paying Hawkinson his full $200,000 artist fee. The TJPA expects to save $830,000 of the original budget and hasn't said what it plans to do with the remaining money or if it will hire another artist and install a new sculpture.\u003c/p>\n\u003cp>Hawkinson couldn't be reached for comment. But Dianne Dec, Hawkinson's gallerist, defended the artist. “There have just been extensive delays in the whole construction project,” she said. “But it wasn't an issue that the artist hadn't delivered on his promise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of San Francisco’s biggest projects to date, the transit center is designed to be a five-story hub that will connect passengers with Caltrain, BART, Muni and Amtrak, among other services. It is also expected to house retail shops and include a 5.4-acre park on its roof.\u003c/p>\n\n","blocks":[],"excerpt":"City cites a ballooning budget and engineering problems as reasons for pulling the plug on artist Tim Hawkinson's sculpture.","status":"publish","parent":0,"modified":1497044041,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":397},"headData":{"title":"S.F. Cancels Multimillion-Dollar Transbay Terminal Art Project | KQED","description":"City cites a ballooning budget and engineering problems as reasons for pulling the plug on artist Tim Hawkinson's sculpture.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"S.F. 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Cancels Multimillion-Dollar Transbay Terminal Art Project","path":"/news/11500235/city-of-sf-cancels-multimillion-dollar-transbay-terminal-art-project","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 41-foot-high art installation that the city of San Francisco planned to unveil as part of its new $6 billion \u003ca href=\"http://transbaycenter.org/project/transit-center\" target=\"_blank\" rel=\"noopener noreferrer\">Transbay Transit Center\u003c/a> has been canceled and its lead artist released from his contract.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) and Transbay Joint Powers Authority (TJPA) hired artist \u003ca href=\"http://transbaycenter.org/artists/tim-hawkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Tim Hawkinson\u003c/a> to create the installation using materials salvaged from the old Transbay Terminal. It was to be one of five major public art installations planned for the new center.\u003c/p>\n\u003cp>The art installation was originally budgeted at $1.67 million. But the TJPA and SFAC decided to cancel the project after they realized that the actual cost of completing the artwork would come in around $3.7 million. They also said the project would be overdue and it wouldn’t debut until after the transit center opened.\u003c/p>\n\u003cp>In a statement released Wednesday, the TJPA said the sculpture “has proven to be a particularly complex engineering task.” The statement cited “the nature of the materials, the sculpture’s size, and its location” as reasons for the cancellation.\u003c/p>\n\u003cp>In a statement sent to KQED, SFAC spokeswoman Kate Patterson cited many of the same reasons. Patterson also said she hopes SFAC will get to work with the artist again. “Tim Hawkinson is a brilliant artist,” Patterson said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The TJPA said it has spent $840,000 of the original budget on salvaging and moving materials for the project and paying Hawkinson his full $200,000 artist fee. The TJPA expects to save $830,000 of the original budget and hasn't said what it plans to do with the remaining money or if it will hire another artist and install a new sculpture.\u003c/p>\n\u003cp>Hawkinson couldn't be reached for comment. But Dianne Dec, Hawkinson's gallerist, defended the artist. “There have just been extensive delays in the whole construction project,” she said. “But it wasn't an issue that the artist hadn't delivered on his promise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of San Francisco’s biggest projects to date, the transit center is designed to be a five-story hub that will connect passengers with Caltrain, BART, Muni and Amtrak, among other services. It is also expected to house retail shops and include a 5.4-acre park on its roof.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11500235/city-of-sf-cancels-multimillion-dollar-transbay-terminal-art-project","authors":["11301"],"programs":["news_6944"],"categories":["news_223","news_8","news_1397"],"tags":["news_21090","news_362"],"featImg":"news_11500237","label":"news_6944"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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