SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel
SF Youth Explore Themes of Home, Identity at Generation Chinatown Exhibition
Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade
The Best Art I Saw in 2022
60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA
A Contemporary Art Festival Lights Up San Francisco’s Chinatown
Refugee Women Tell Their Stories of Pain and Beauty in Sofía Córdova’s New Film
At Chinese Culture Center, a Collective Experience Borne Out of Difference
Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter
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But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n","blocks":[],"excerpt":"After an outpouring of community feedback, the SFAC took the opportunity to reassess the 1970 sculpture.\r\n","status":"publish","parent":0,"modified":1705003072,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":851},"headData":{"title":"SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel | KQED","description":"After an outpouring of community feedback, the SFAC took the opportunity to reassess the 1970 sculpture.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel","datePublished":"2023-11-20T22:58:38.000Z","dateModified":"2024-01-11T19:57:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a Visual Arts Committee meeting on Nov. 15, members of the San Francisco Arts Commission voted unanimously to remove the bronze and brass dragon sculpture over the Broadway Tunnel and place the public artwork in storage.\u003c/p>\n\u003cp>The decision was prompted by planned upgrades to the 1968 Chinatown Public Health Center, which include enlarging the windows over the tunnel and eliminating the wall on which the sculpture is currently mounted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11891329","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Also on the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\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>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown","authors":["61"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_2654","arts_3835","arts_2628","arts_1146","arts_1879"],"featImg":"arts_13938298","label":"arts"},"arts_13930636":{"type":"posts","id":"arts_13930636","meta":{"index":"posts_1591205157","site":"arts","id":"13930636","score":null,"sort":[1686942567000]},"guestAuthors":[],"slug":"sf-youth-explore-themes-of-home-identity-at-generation-chinatown-exhibition","title":"SF Youth Explore Themes of Home, Identity at Generation Chinatown Exhibition","publishDate":1686942567,"format":"standard","headTitle":"SF Youth Explore Themes of Home, Identity at Generation Chinatown Exhibition | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On a Friday evening, laughter and conversation fill the air as crowds wait in a narrow alleyway outside community art space \u003ca href=\"https://www.instagram.com/41.ross/\">41 Ross\u003c/a>. Fresh tamales are passed out as people eagerly line up to see the new exhibition inside — one that centers the passions, anxieties and explorations of seven San Francisco high school students.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cccsf.us/post/rise-a-youth-arts-exhibition\">\u003cem>RISE: A Youth Art Exhibition\u003c/em>\u003c/a> opened June 9 to an outpouring of support from community members. The event was the culminating showcase of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>’s inaugural youth residency, \u003ca href=\"https://www.cccsf.us/generation-chinatown\">Generation Chinatown\u003c/a>, a three-month program that provides its high school-age residents workshops, artist visits and tours across local arts organizations and spaces. The goal: to empower young artists to develop artmaking skills centered in community and social change, and to explore their art styles, backgrounds and identities.\u003c/p>\n\u003cfigure id=\"attachment_13930647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image1-800x498.jpg\" alt=\"pink artwork on a wall that reads 'I love being a nerd'\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-1536x956.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-1920x1195.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Generation Chinatown artist Fer’s ‘I Love Being a Nerd,’ a digital print series that documents their journey with self-acceptance. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the residency, each artist considered various questions. What does it mean to be a young artist today? What is happening in their communities, and how can they spark change through artmaking? When do they feel most themselves in the artmaking process?\u003c/p>\n\u003cp>“I can act like myself in the space provided at [41 Ross],” said artist Fer, at the June 9 RISE opening reception. “I don’t have to pretend to be someone else just to be formal. It’s a space to escape from school, a space to flex my creative muscles.”\u003c/p>\n\u003cfigure id=\"attachment_13930648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image6-800x450.jpg\" alt=\"an attendee with black hair leans towards photographs posted on a pink wall\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An attendee leans towards Generation Chinatown artist Eric Chen’s ‘Mailboxes,’ a mixed media and photo project about Chinatown SROs. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As attendees walk through the space, each corner feels like its own exhibit, its own intricate story. From subject matter to materials, the pieces are distinctly different from artist to artist — with each area offering a new mindscape to unpack. One resident threads together street photography to examine the compact sizes of mailboxes and SRO (single room occupancy) living spaces in Chinatown. Another draws upon Chinese mythology to superimpose past and present as they navigate their queer identity and ancestry.\u003c/p>\n\u003cp>Found objects are recycled into a layered, complex construction of a found home. Acrylic and glass beads are arranged to highlight women’s empowerment. A film flits across the back wall, with grainy footage shot on an old camera to mirror the bittersweet murkiness of nostalgia. As the artists play with memory and consider heavier issues of identity, immigration, race and more, the resulting visual representations are moving and personal. And they’re just the beginning.\u003c/p>\n\u003cfigure id=\"attachment_13930649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image4-800x532.jpg\" alt=\"newspapers and postcards and other art materials on a table against a pink wall\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Generation Chinatown resident Sophia’s ‘Home’ features recycled materials to illustrate how homes can be built from anything. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s always been about uplifting and supporting artists,” said Vida Kuang, Chinese Culture Center’s education director, at the June 9 opening reception. “[It’s about] believing in people’s potential to be creative and take creative action in their own neighborhoods.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Generation Chinatown’s RISE exhibit is on view through Friday, June 23 at 41 Ross in San Francisco. Admission is free. \u003ca href=\"https://www.cccsf.us/post/rise-a-youth-arts-exhibition\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'RISE,' featuring work by the Chinese Culture Center's teen residents, is on view at 41 Ross through June 23.","status":"publish","parent":0,"modified":1705005362,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":552},"headData":{"title":"SF Youth Explore Themes of Home, Identity at Generation Chinatown Exhibition | KQED","description":"'RISE,' featuring work by the Chinese Culture Center's teen residents, is on view at 41 Ross through June 23.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Youth Explore Themes of Home, Identity at Generation Chinatown Exhibition","datePublished":"2023-06-16T19:09:27.000Z","dateModified":"2024-01-11T20:36:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930636/sf-youth-explore-themes-of-home-identity-at-generation-chinatown-exhibition","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a Friday evening, laughter and conversation fill the air as crowds wait in a narrow alleyway outside community art space \u003ca href=\"https://www.instagram.com/41.ross/\">41 Ross\u003c/a>. Fresh tamales are passed out as people eagerly line up to see the new exhibition inside — one that centers the passions, anxieties and explorations of seven San Francisco high school students.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cccsf.us/post/rise-a-youth-arts-exhibition\">\u003cem>RISE: A Youth Art Exhibition\u003c/em>\u003c/a> opened June 9 to an outpouring of support from community members. The event was the culminating showcase of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>’s inaugural youth residency, \u003ca href=\"https://www.cccsf.us/generation-chinatown\">Generation Chinatown\u003c/a>, a three-month program that provides its high school-age residents workshops, artist visits and tours across local arts organizations and spaces. The goal: to empower young artists to develop artmaking skills centered in community and social change, and to explore their art styles, backgrounds and identities.\u003c/p>\n\u003cfigure id=\"attachment_13930647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image1-800x498.jpg\" alt=\"pink artwork on a wall that reads 'I love being a nerd'\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-1536x956.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1-1920x1195.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image1.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Generation Chinatown artist Fer’s ‘I Love Being a Nerd,’ a digital print series that documents their journey with self-acceptance. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the residency, each artist considered various questions. What does it mean to be a young artist today? What is happening in their communities, and how can they spark change through artmaking? When do they feel most themselves in the artmaking process?\u003c/p>\n\u003cp>“I can act like myself in the space provided at [41 Ross],” said artist Fer, at the June 9 RISE opening reception. “I don’t have to pretend to be someone else just to be formal. It’s a space to escape from school, a space to flex my creative muscles.”\u003c/p>\n\u003cfigure id=\"attachment_13930648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image6-800x450.jpg\" alt=\"an attendee with black hair leans towards photographs posted on a pink wall\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image6.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An attendee leans towards Generation Chinatown artist Eric Chen’s ‘Mailboxes,’ a mixed media and photo project about Chinatown SROs. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As attendees walk through the space, each corner feels like its own exhibit, its own intricate story. From subject matter to materials, the pieces are distinctly different from artist to artist — with each area offering a new mindscape to unpack. One resident threads together street photography to examine the compact sizes of mailboxes and SRO (single room occupancy) living spaces in Chinatown. Another draws upon Chinese mythology to superimpose past and present as they navigate their queer identity and ancestry.\u003c/p>\n\u003cp>Found objects are recycled into a layered, complex construction of a found home. Acrylic and glass beads are arranged to highlight women’s empowerment. A film flits across the back wall, with grainy footage shot on an old camera to mirror the bittersweet murkiness of nostalgia. As the artists play with memory and consider heavier issues of identity, immigration, race and more, the resulting visual representations are moving and personal. And they’re just the beginning.\u003c/p>\n\u003cfigure id=\"attachment_13930649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/image4-800x532.jpg\" alt=\"newspapers and postcards and other art materials on a table against a pink wall\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/image4.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Generation Chinatown resident Sophia’s ‘Home’ features recycled materials to illustrate how homes can be built from anything. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s always been about uplifting and supporting artists,” said Vida Kuang, Chinese Culture Center’s education director, at the June 9 opening reception. “[It’s about] believing in people’s potential to be creative and take creative action in their own neighborhoods.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Generation Chinatown’s RISE exhibit is on view through Friday, June 23 at 41 Ross in San Francisco. Admission is free. \u003ca href=\"https://www.cccsf.us/post/rise-a-youth-arts-exhibition\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930636/sf-youth-explore-themes-of-home-identity-at-generation-chinatown-exhibition","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_11374","arts_3835","arts_10278","arts_585","arts_699"],"featImg":"arts_13930646","label":"arts_140"},"arts_13924500":{"type":"posts","id":"arts_13924500","meta":{"index":"posts_1591205157","site":"arts","id":"13924500","score":null,"sort":[1675203065000]},"guestAuthors":[],"slug":"christine-wong-yap-migrant-women-flags-chinese-new-year-parade","title":"Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade","publishDate":1675203065,"format":"standard","headTitle":"Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In preparation for her latest endeavor, Bay Area artist \u003ca href=\"https://christinewongyap.com/\">Christine Wong Yap\u003c/a> had to brush up on her self-described “terrible” Spanish. She knew she was about to embark upon something ambitious: a trilingual community-based project that would push her to engage with strangers about the difficult subjects of mental health and migration. Over a year of extensive planning led to Yap’s \u003cem>\u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">How I Keep Looking Up\u003c/a>\u003c/em>, a public art action that centers 16 Chinese and Latinx migrant women’s resounding stories of struggle and hope.\u003c/p>\n\u003cp>For the past three months, Yap led workshops at \u003ca href=\"https://www.41ross.org/\">41 Ross\u003c/a> and the \u003ca href=\"https://missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, where the women learned phrases from each other’s languages, shared meaningful anecdotes and designed flags that focus on their resilience. Many based their illustrations on comforting symbols like butterflies, birds and flowers to represent what they treasure most: their families, communities and personal journeys.\u003c/p>\n\u003cfigure id=\"attachment_13924501\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image1.jpg\" alt=\"View of Portsmouth Square pedestrian bridge with line of flag holders extending down stairs and across bridge\" width=\"1742\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1536x1153.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ members display their flags at a rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Participant Lupita Iraheta imagined herself as a boat, providing solace for those in search of safety, home and stability — a search that, at one point, burdened her deeply. Iraheta and her fellow designers will proudly carry their flags at the \u003ca href=\"https://chineseparade.com/\">San Francisco Chinatown Chinese New Year Parade\u003c/a> on Saturday, Feb. 4.\u003c/p>\n\u003cp>From the beginning, the women were eager to connect with one another despite their language barriers. “I think there’s an assumption that people who live in neighborhoods which are considered ethnic enclaves are not interested in building bridges with people in other neighborhoods,” says Yap. But the group readily interacted with one another — in an environment that fostered cross-cultural dialogue, vulnerability and open communication, their stories poured out. “I think when people can see that other people are learning from their experiences, it can be very powerful,” Yap continues.\u003c/p>\n\u003cfigure id=\"attachment_13924502\" class=\"wp-caption aligncenter\" style=\"max-width: 1764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image2.jpg\" alt=\"Women in blue vests and pink sashes stretch their arms in a carpeted indoor space\" width=\"1764\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2.jpg 1764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1536x1014.jpg 1536w\" sizes=\"(max-width: 1764px) 100vw, 1764px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ designers stretch at their parade rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before their big parade debut, the group met for rehearsal at the Chinese Culture Center. Dressed in their performance costumes — iridescent blue vests adorned with shimmering flowers — they huddled close, sipping from paper cups as they awaited choreography instructions. Shortly after, \u003cem>How I Keep Looking Up\u003c/em> team members Andreína Maldonado and Stephan Xie lead the women through a series of marches and moves, translating instructions into Spanish and Cantonese, respectively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bright mariachi songs bounced against the walls and the room broke into laughter as they marched and danced in place, playfully chiding one another for missed steps and mistakes. It is this infectious sense of joy that will propel them forward in the cold. As the women walked in neat rows and earnest unison, they never failed to look after their neighbors — reminding each other in small ways that the bonds they’ve created here are lasting and affirming. Despite an initial lack of understanding, they’ve seen one another. On Feb. 4, they will march together, keeping each other’s stories safe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘How I Keep Looking Up’ designers will debut their flags at the \u003ca href=\"https://chineseparade.com/\">Chinese New Year Parade\u003c/a> in San Francisco’s Chinatown on Feb. 4. Afterwards, the flags will be exhibited at the Chinese Culture Center of San Francisco Feb. 7–April 1. More information \u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Over three months of workshops led by artist Christine Wong Yap, Chinese and Latinx women shared their stories of migration.","status":"publish","parent":0,"modified":1705005915,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":571},"headData":{"title":"Women Carry Flags of Resilience in Chinese New Year Parade | KQED","description":"Over three months of workshops led by artist Christine Wong Yap, Chinese and Latinx women shared their stories of migration.","ogTitle":"Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade","ogDescription":"","ogImgId":"","twTitle":"Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade","twDescription":"","twImgId":"","socialTitle":"Women Carry Flags of Resilience in Chinese New Year Parade %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade","datePublished":"2023-01-31T22:11:05.000Z","dateModified":"2024-01-11T20:45:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13924500/christine-wong-yap-migrant-women-flags-chinese-new-year-parade","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In preparation for her latest endeavor, Bay Area artist \u003ca href=\"https://christinewongyap.com/\">Christine Wong Yap\u003c/a> had to brush up on her self-described “terrible” Spanish. She knew she was about to embark upon something ambitious: a trilingual community-based project that would push her to engage with strangers about the difficult subjects of mental health and migration. Over a year of extensive planning led to Yap’s \u003cem>\u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">How I Keep Looking Up\u003c/a>\u003c/em>, a public art action that centers 16 Chinese and Latinx migrant women’s resounding stories of struggle and hope.\u003c/p>\n\u003cp>For the past three months, Yap led workshops at \u003ca href=\"https://www.41ross.org/\">41 Ross\u003c/a> and the \u003ca href=\"https://missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, where the women learned phrases from each other’s languages, shared meaningful anecdotes and designed flags that focus on their resilience. Many based their illustrations on comforting symbols like butterflies, birds and flowers to represent what they treasure most: their families, communities and personal journeys.\u003c/p>\n\u003cfigure id=\"attachment_13924501\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image1.jpg\" alt=\"View of Portsmouth Square pedestrian bridge with line of flag holders extending down stairs and across bridge\" width=\"1742\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1536x1153.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ members display their flags at a rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Participant Lupita Iraheta imagined herself as a boat, providing solace for those in search of safety, home and stability — a search that, at one point, burdened her deeply. Iraheta and her fellow designers will proudly carry their flags at the \u003ca href=\"https://chineseparade.com/\">San Francisco Chinatown Chinese New Year Parade\u003c/a> on Saturday, Feb. 4.\u003c/p>\n\u003cp>From the beginning, the women were eager to connect with one another despite their language barriers. “I think there’s an assumption that people who live in neighborhoods which are considered ethnic enclaves are not interested in building bridges with people in other neighborhoods,” says Yap. But the group readily interacted with one another — in an environment that fostered cross-cultural dialogue, vulnerability and open communication, their stories poured out. “I think when people can see that other people are learning from their experiences, it can be very powerful,” Yap continues.\u003c/p>\n\u003cfigure id=\"attachment_13924502\" class=\"wp-caption aligncenter\" style=\"max-width: 1764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image2.jpg\" alt=\"Women in blue vests and pink sashes stretch their arms in a carpeted indoor space\" width=\"1764\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2.jpg 1764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1536x1014.jpg 1536w\" sizes=\"(max-width: 1764px) 100vw, 1764px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ designers stretch at their parade rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before their big parade debut, the group met for rehearsal at the Chinese Culture Center. Dressed in their performance costumes — iridescent blue vests adorned with shimmering flowers — they huddled close, sipping from paper cups as they awaited choreography instructions. Shortly after, \u003cem>How I Keep Looking Up\u003c/em> team members Andreína Maldonado and Stephan Xie lead the women through a series of marches and moves, translating instructions into Spanish and Cantonese, respectively.\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>Bright mariachi songs bounced against the walls and the room broke into laughter as they marched and danced in place, playfully chiding one another for missed steps and mistakes. It is this infectious sense of joy that will propel them forward in the cold. As the women walked in neat rows and earnest unison, they never failed to look after their neighbors — reminding each other in small ways that the bonds they’ve created here are lasting and affirming. Despite an initial lack of understanding, they’ve seen one another. On Feb. 4, they will march together, keeping each other’s stories safe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘How I Keep Looking Up’ designers will debut their flags at the \u003ca href=\"https://chineseparade.com/\">Chinese New Year Parade\u003c/a> in San Francisco’s Chinatown on Feb. 4. Afterwards, the flags will be exhibited at the Chinese Culture Center of San Francisco Feb. 7–April 1. More information \u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924500/christine-wong-yap-migrant-women-flags-chinese-new-year-parade","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_1003","arts_70"],"tags":["arts_2654","arts_3835","arts_13165","arts_10278","arts_3649","arts_585"],"featImg":"arts_13924503","label":"arts_140"},"arts_13922385":{"type":"posts","id":"arts_13922385","meta":{"index":"posts_1591205157","site":"arts","id":"13922385","score":null,"sort":[1670444924000]},"guestAuthors":[],"slug":"best-visual-art-bay-area-2022","title":"The Best Art I Saw in 2022","publishDate":1670444924,"format":"aside","headTitle":"The Best Art I Saw in 2022 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s truly an honor to write this roundup every year. There’s so much I don’t get a chance to review, let alone \u003ci>see\u003c/i> in the Bay Area’s voluminous visual art scene. (Believe me, I keep \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit?usp=sharing\">a running list\u003c/a>.)\u003c/p>\n\u003cp>A nonprofit administrator I worked for once said, “If it doesn’t get written about, it’s like it didn’t happen,” a gloomy maxim that still fills me with an overwhelming sense of \u003cdel datetime=\"2022-12-07T00:39:57+00:00\">guilt\u003c/del> purpose. So here, to mark the end of 2022, are six things that definitely did happen — and knocked my socks off to boot.\u003c/p>\n\u003cfigure id=\"attachment_13922389\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg\" alt=\"Gallery view of sunset colored pedestals supporting basket sculptures, a textile piece on white wall\" width=\"2560\" height=\"1828\" class=\"size-full wp-image-13922389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1920x1371.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, Installation view of ‘Look Across the Water Into the Darkness, Look for the Fog’ at the Wattis Institue. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Excellent Use of Canned Goods\u003c/h2>\n\u003cp>\u003ci>\u003cb>Josh Faught, ‘\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\">Look Across the Water Into the Darkness, Look for the Fog\u003c/a>’\u003c/b>\u003cbr>\nWattis Institute for Contemporary Arts, San Francisco\u003cbr>\nJan. 13–March 5, 2022\u003c/i>\u003c/p>\n\u003cp>While 2022 might be remembered as the year a new museum opened in town (welcome to the party, ICA San Francisco), the Wattis has proffered its version of artist-centric presentations for nearly 25 years, and it especially shines when handing the keys over to local artists. \u003ca href=\"https://www.kqed.org/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies\">Josh Faught\u003c/a>’s solo, curated by Kim Nguyen, was a masterclass in exhibition design, where every presentation detail for these highly textured, intricate works was as meticulously considered as the pieces themselves. With woven sculptures on sunset-hued pedestals and crocheted wall works, Faught used pockets, shelves and nooks to tie together narratives of queer history, the ongoing pandemic, daytime soaps and a prepper-worthy stack of canned tuna. \u003ci>Look Across the Water\u003c/i> was a deeply humanist exhibition that delivered visual delights from every vantage point.\u003c/p>\n\u003cfigure id=\"attachment_13922420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg\" alt=\"Blue gallery walls with large ceramic eyes mounted and multicolored buckets and stools below\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Peripheral Visions,’ 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Water Feature\u003c/h2>\n\u003cp>\u003ci>\u003cb>Cathy Lu, ‘\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\">Interior Garden\u003c/a>’\u003c/b>\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nJan. 20–Dec. 17, 2022\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of mounting several shows throughout the year, the CCC devoted its entire gallery space to local ceramicist \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s multi-part installation, encouraging return visits and slow, engaged looking. There are no pedestals in this show; ceramics mingle with a pile of bricks, or are suspended from the ceiling in an undulating pair of mythological hands (complete with long, curling fingernails). At the center of the exhibition is \u003ci>Peripheral Visions\u003c/i>, an arrangement of giant ceramic eyes modeled after the real eyes of Asian American women, including author Cathy Park Hong, artist Ruth Asawa and skater Michelle Kwan. Yellow onion-dyed water flows from each eye down into a plastic receptacle, only to be cycled back up in an endless stream. Against an ultramarine blue wall, Lu’s installation makes vibrantly visible the effects of living in a racialized body (especially during a time of anti-Asian hate) in a country where the conversation is so often reduced to a matter of Black and white. \u003c/p>\n\u003cfigure id=\"attachment_13922422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Empty-Belly_1200.jpg\" alt=\"Vertical soft pastel drawing with black circle at center, surrounded by breasts, hands and a red vagina shape\" width=\"1200\" height=\"1546\" class=\"size-full wp-image-13922422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1192x1536.jpg 1192w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Loie Hollowell, ‘Empty Belly,’ Sept. 8, 2021. \u003ccite>(© Loie Hollowell; Courtesy of Pace Gallery; Photo by Melissa Goodwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Illusionistic 2D Works\u003c/h2>\n\u003cp>\u003ci>\u003cb>Loie Hollowell, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\">Tick Tock Belly Clock\u003c/a>’\u003c/b>\u003cbr>\nManetti Shrem Museum of Art, UC Davis\u003cbr>\nSept. 25, 2022–May 8, 2023\u003c/i>\u003c/p>\n\u003cp>This one-room exhibition at the Manetti Shrem by New York artist \u003ca href=\"http://www.loiehollowell.com/\">Loie Hollowell\u003c/a> is a homecoming of sorts (Hollowell grew up in Woodland, just outside of Sacramento, and her father was a UC Davis professor). Hollowell’s paintings and drawings are tricksters; digital images do them no justice. The paintings are eye-poppingly three dimensional, while the drawings, rendered in soft pastels and ringed with the artist’s notes to herself, look just as substantial under the museum lights. In this show, Hollowell is working out the colors, shapes and compositions inspired by her second pregnancy — bellies and breasts, mouths and hands, streams of milk and swinging pendulums all hint at the chaos and sublimity of growing, changing bodies. \u003c/p>\n\u003cfigure id=\"attachment_13922423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg\" alt=\"Close-up of woman's made-up face as she applies lipstick\" width=\"1920\" height=\"1091\" class=\"size-full wp-image-13922423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1536x873.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, Video still from ‘Fuck My Life,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Mini-Retrospective Within an Exhibition\u003c/h2>\n\u003cp>\u003ci>\u003cb>Xandra Ibarra in ‘\u003ca href=\"https://museumca.org/on-view/hella-feminist/\">Hella Feminist\u003c/a>’\u003c/b>\u003cbr>\nOakland Museum of California\u003cbr>\nJuly 29, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>In one corner of OMCA’s \u003ci>Hella Feminist\u003c/i> is a welcome surprise: a mini-retrospective for Oakland artist \u003ca href=\"https://www.xandraibarra.com/\">Xandra Ibarra\u003c/a>, whose art and performance work regularly makes the rounds at national institutions, but is harder to see locally. (On that note, don’t miss the current Jenkins Johnson exhibition \u003ci>\u003ca href=\"https://www.jenkinsjohnsongallery.com/exhibitions/69-bloodchild-nyame-brown-xandra-ibarra-shara-mays-gregory-rick/overview/\">Bloodchild\u003c/a>\u003c/i>.) At OMCA, Ibarra’s photographs, videos, sculpture and menstrual Rorschach test print (titled \u003ci>She’s On the Rag\u003c/i>) present an introduction to her archly humorous and highly critical body of work, often centered on the recurring motif of the cockroach. But it’s \u003ci>Fuck My Life\u003c/i>, a short 2012 video based on a longer performance work, that brings the house down, depicting a morning (afternoon?) in the life of a “fatigued showgirl” who washes out her toothpaste with a swig of whiskey and shuffles off to her next gig, set to Cuban singer La Lupe’s emotional performance of “\u003ca href=\"https://youtu.be/znlkKfLmS5U\">Esta es Mi Vida (This is My Life)\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13922434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg\" alt=\"View of gallery with blue tent, large ceramic figures, a carpet and TV beneath and small audience of ceramic cats\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13922434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Candice Lin, Installation view of ‘Seeping, Rotting, Resting, Weeping’ at BAMPFA in 2022. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coziest Show Featuring Cats\u003c/h2>\n\u003cp>\u003ci>\u003cb>Candice Lin, ‘\u003ca href=\"https://bampfa.org/program/candice-lin-seeping-rotting-resting-weeping\">Seeping, Rotting, Resting, Weeping\u003c/a>’\u003c/b>\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003cbr>\nMay 8–Nov. 27, 2022\u003c/i>\u003c/p>\n\u003cp>In a downstairs gallery at BAMPFA, an indigo-dyed tent surrounded by guardian-like figures invited visitors to remove their shoes and lounge on a carpet alongside ceramic cats to watch an animation about another cat, a feral neighborhood creature called White-n-Gray. Outside the tent, a projected video showed a rainbow-hued “cat demon” leading a qigong class in a post-apocalyptic desert. Made during the pandemic and reflecting on that strange time of isolation, when many of us were closest to our neighborhood wildlife (cats included), the show acted as a multisensory release for all the pent up, wide-ranging energy that has accumulated since March 2020.\u003c/p>\n\u003cfigure id=\"attachment_13922421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg\" alt=\"Two white men stand arm in arm looking down at embellished fabric panels, crowd in distance\" width=\"1920\" height=\"1253\" class=\"size-full wp-image-13922421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People embrace while looking at panels of the AIDS Memorial Quilt in Golden Gate Park on June 11, 2022. It was the largest display of the quilt in San Francisco history. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Greatest Monument Ever Made\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.aidsmemorial.org/quilt-history\">NAMES Project AIDS Memorial Quilt\u003c/a>\u003c/b>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nJune 11–12, 2022\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the United States continues to reckon with the origins of its monuments, and how to mark the deaths of over 1 million Americans from COVID-19, the \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> remains the most beautiful and moving depiction of loss that I have ever experienced. Over one weekend, after two years in storage, 3,000 panels of the quilt were spread across Robin Williams Meadow under somber gray skies. Visitors walked slowly across the expansive grid (just a fraction of the project’s scope — it now includes over 50,000 panels), listening to volunteers read the names of both strangers and loved ones. Collectively created and maintained, the quilt’s mutability is its greatest strength, creating a space for mourning, remembrance and awe wherever it’s unfurled.\u003c/p>\n\n","blocks":[],"excerpt":"A look back on six highlights from a year of voluminous visual art in the Bay Area.","status":"publish","parent":0,"modified":1705006085,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1222},"headData":{"title":"The Best of 2022: Bay Area Visual Art | KQED","description":"A look back on six highlights from a year of voluminous visual art in the Bay Area.","ogTitle":"The Best Art I Saw in 2022","ogDescription":"","ogImgId":"","twTitle":"The Best Art I Saw in 2022","twDescription":"","twImgId":"","socialTitle":"The Best of 2022: Bay Area Visual Art %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Art I Saw in 2022","datePublished":"2022-12-07T20:28:44.000Z","dateModified":"2024-01-11T20:48:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13922385/best-visual-art-bay-area-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s truly an honor to write this roundup every year. There’s so much I don’t get a chance to review, let alone \u003ci>see\u003c/i> in the Bay Area’s voluminous visual art scene. (Believe me, I keep \u003ca href=\"https://docs.google.com/document/d/1EPuQY0pmQEolKP1764UwgB1sXGJw6oG72_rZL4D9nhk/edit?usp=sharing\">a running list\u003c/a>.)\u003c/p>\n\u003cp>A nonprofit administrator I worked for once said, “If it doesn’t get written about, it’s like it didn’t happen,” a gloomy maxim that still fills me with an overwhelming sense of \u003cdel datetime=\"2022-12-07T00:39:57+00:00\">guilt\u003c/del> purpose. So here, to mark the end of 2022, are six things that definitely did happen — and knocked my socks off to boot.\u003c/p>\n\u003cfigure id=\"attachment_13922389\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg\" alt=\"Gallery view of sunset colored pedestals supporting basket sculptures, a textile piece on white wall\" width=\"2560\" height=\"1828\" class=\"size-full wp-image-13922389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-2048x1463.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Wattis_Faught_25-1920x1371.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Josh Faught, Installation view of ‘Look Across the Water Into the Darkness, Look for the Fog’ at the Wattis Institue. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Excellent Use of Canned Goods\u003c/h2>\n\u003cp>\u003ci>\u003cb>Josh Faught, ‘\u003ca href=\"https://wattis.org/our-program/on-view/josh-faught-solo-exhibition\">Look Across the Water Into the Darkness, Look for the Fog\u003c/a>’\u003c/b>\u003cbr>\nWattis Institute for Contemporary Arts, San Francisco\u003cbr>\nJan. 13–March 5, 2022\u003c/i>\u003c/p>\n\u003cp>While 2022 might be remembered as the year a new museum opened in town (welcome to the party, ICA San Francisco), the Wattis has proffered its version of artist-centric presentations for nearly 25 years, and it especially shines when handing the keys over to local artists. \u003ca href=\"https://www.kqed.org/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies\">Josh Faught\u003c/a>’s solo, curated by Kim Nguyen, was a masterclass in exhibition design, where every presentation detail for these highly textured, intricate works was as meticulously considered as the pieces themselves. With woven sculptures on sunset-hued pedestals and crocheted wall works, Faught used pockets, shelves and nooks to tie together narratives of queer history, the ongoing pandemic, daytime soaps and a prepper-worthy stack of canned tuna. \u003ci>Look Across the Water\u003c/i> was a deeply humanist exhibition that delivered visual delights from every vantage point.\u003c/p>\n\u003cfigure id=\"attachment_13922420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg\" alt=\"Blue gallery walls with large ceramic eyes mounted and multicolored buckets and stools below\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/2.-Peripheral-Visions_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cathy Lu, ‘Peripheral Visions,’ 2022. \u003ccite>(Courtesy of the Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Water Feature\u003c/h2>\n\u003cp>\u003ci>\u003cb>Cathy Lu, ‘\u003ca href=\"https://www.cccsf.us/post/xianrui-2022-interior-garden\">Interior Garden\u003c/a>’\u003c/b>\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nJan. 20–Dec. 17, 2022\u003c/i>\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>Instead of mounting several shows throughout the year, the CCC devoted its entire gallery space to local ceramicist \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a>’s multi-part installation, encouraging return visits and slow, engaged looking. There are no pedestals in this show; ceramics mingle with a pile of bricks, or are suspended from the ceiling in an undulating pair of mythological hands (complete with long, curling fingernails). At the center of the exhibition is \u003ci>Peripheral Visions\u003c/i>, an arrangement of giant ceramic eyes modeled after the real eyes of Asian American women, including author Cathy Park Hong, artist Ruth Asawa and skater Michelle Kwan. Yellow onion-dyed water flows from each eye down into a plastic receptacle, only to be cycled back up in an endless stream. Against an ultramarine blue wall, Lu’s installation makes vibrantly visible the effects of living in a racialized body (especially during a time of anti-Asian hate) in a country where the conversation is so often reduced to a matter of Black and white. \u003c/p>\n\u003cfigure id=\"attachment_13922422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Empty-Belly_1200.jpg\" alt=\"Vertical soft pastel drawing with black circle at center, surrounded by breasts, hands and a red vagina shape\" width=\"1200\" height=\"1546\" class=\"size-full wp-image-13922422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-768x989.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Empty-Belly_1200-1192x1536.jpg 1192w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Loie Hollowell, ‘Empty Belly,’ Sept. 8, 2021. \u003ccite>(© Loie Hollowell; Courtesy of Pace Gallery; Photo by Melissa Goodwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Illusionistic 2D Works\u003c/h2>\n\u003cp>\u003ci>\u003cb>Loie Hollowell, ‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/current-exhibitions\">Tick Tock Belly Clock\u003c/a>’\u003c/b>\u003cbr>\nManetti Shrem Museum of Art, UC Davis\u003cbr>\nSept. 25, 2022–May 8, 2023\u003c/i>\u003c/p>\n\u003cp>This one-room exhibition at the Manetti Shrem by New York artist \u003ca href=\"http://www.loiehollowell.com/\">Loie Hollowell\u003c/a> is a homecoming of sorts (Hollowell grew up in Woodland, just outside of Sacramento, and her father was a UC Davis professor). Hollowell’s paintings and drawings are tricksters; digital images do them no justice. The paintings are eye-poppingly three dimensional, while the drawings, rendered in soft pastels and ringed with the artist’s notes to herself, look just as substantial under the museum lights. In this show, Hollowell is working out the colors, shapes and compositions inspired by her second pregnancy — bellies and breasts, mouths and hands, streams of milk and swinging pendulums all hint at the chaos and sublimity of growing, changing bodies. \u003c/p>\n\u003cfigure id=\"attachment_13922423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg\" alt=\"Close-up of woman's made-up face as she applies lipstick\" width=\"1920\" height=\"1091\" class=\"size-full wp-image-13922423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Xandra-Ibarra_Video-Still-_Fuck-My-Life-_2012by-Xandra-Ibarra_1920-1536x873.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, Video still from ‘Fuck My Life,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Mini-Retrospective Within an Exhibition\u003c/h2>\n\u003cp>\u003ci>\u003cb>Xandra Ibarra in ‘\u003ca href=\"https://museumca.org/on-view/hella-feminist/\">Hella Feminist\u003c/a>’\u003c/b>\u003cbr>\nOakland Museum of California\u003cbr>\nJuly 29, 2022–Jan. 8, 2023\u003c/i>\u003c/p>\n\u003cp>In one corner of OMCA’s \u003ci>Hella Feminist\u003c/i> is a welcome surprise: a mini-retrospective for Oakland artist \u003ca href=\"https://www.xandraibarra.com/\">Xandra Ibarra\u003c/a>, whose art and performance work regularly makes the rounds at national institutions, but is harder to see locally. (On that note, don’t miss the current Jenkins Johnson exhibition \u003ci>\u003ca href=\"https://www.jenkinsjohnsongallery.com/exhibitions/69-bloodchild-nyame-brown-xandra-ibarra-shara-mays-gregory-rick/overview/\">Bloodchild\u003c/a>\u003c/i>.) At OMCA, Ibarra’s photographs, videos, sculpture and menstrual Rorschach test print (titled \u003ci>She’s On the Rag\u003c/i>) present an introduction to her archly humorous and highly critical body of work, often centered on the recurring motif of the cockroach. But it’s \u003ci>Fuck My Life\u003c/i>, a short 2012 video based on a longer performance work, that brings the house down, depicting a morning (afternoon?) in the life of a “fatigued showgirl” who washes out her toothpaste with a swig of whiskey and shuffles off to her next gig, set to Cuban singer La Lupe’s emotional performance of “\u003ca href=\"https://youtu.be/znlkKfLmS5U\">Esta es Mi Vida (This is My Life)\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13922434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg\" alt=\"View of gallery with blue tent, large ceramic figures, a carpet and TV beneath and small audience of ceramic cats\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13922434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BAMPFA_CLin_5-22_06_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Candice Lin, Installation view of ‘Seeping, Rotting, Resting, Weeping’ at BAMPFA in 2022. \u003ccite>(Impart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coziest Show Featuring Cats\u003c/h2>\n\u003cp>\u003ci>\u003cb>Candice Lin, ‘\u003ca href=\"https://bampfa.org/program/candice-lin-seeping-rotting-resting-weeping\">Seeping, Rotting, Resting, Weeping\u003c/a>’\u003c/b>\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003cbr>\nMay 8–Nov. 27, 2022\u003c/i>\u003c/p>\n\u003cp>In a downstairs gallery at BAMPFA, an indigo-dyed tent surrounded by guardian-like figures invited visitors to remove their shoes and lounge on a carpet alongside ceramic cats to watch an animation about another cat, a feral neighborhood creature called White-n-Gray. Outside the tent, a projected video showed a rainbow-hued “cat demon” leading a qigong class in a post-apocalyptic desert. Made during the pandemic and reflecting on that strange time of isolation, when many of us were closest to our neighborhood wildlife (cats included), the show acted as a multisensory release for all the pent up, wide-ranging energy that has accumulated since March 2020.\u003c/p>\n\u003cfigure id=\"attachment_13922421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg\" alt=\"Two white men stand arm in arm looking down at embellished fabric panels, crowd in distance\" width=\"1920\" height=\"1253\" class=\"size-full wp-image-13922421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AIDSMemorialQuilt_1920-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People embrace while looking at panels of the AIDS Memorial Quilt in Golden Gate Park on June 11, 2022. It was the largest display of the quilt in San Francisco history. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Greatest Monument Ever Made\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.aidsmemorial.org/quilt-history\">NAMES Project AIDS Memorial Quilt\u003c/a>\u003c/b>\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nJune 11–12, 2022\u003c/i>\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>While the United States continues to reckon with the origins of its monuments, and how to mark the deaths of over 1 million Americans from COVID-19, the \u003ca href=\"https://www.aidsmemorial.org/quilt\">AIDS Memorial Quilt\u003c/a> remains the most beautiful and moving depiction of loss that I have ever experienced. Over one weekend, after two years in storage, 3,000 panels of the quilt were spread across Robin Williams Meadow under somber gray skies. Visitors walked slowly across the expansive grid (just a fraction of the project’s scope — it now includes over 50,000 panels), listening to volunteers read the names of both strangers and loved ones. Collectively created and maintained, the quilt’s mutability is its greatest strength, creating a space for mourning, remembrance and awe wherever it’s unfurled.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922385/best-visual-art-bay-area-2022","authors":["61"],"categories":["arts_1","arts_70"],"tags":["arts_2227","arts_3835","arts_10342","arts_10278","arts_3226","arts_2755","arts_901","arts_6487"],"featImg":"arts_13922423","label":"arts"},"arts_13915178":{"type":"posts","id":"arts_13915178","meta":{"index":"posts_1591205157","site":"arts","id":"13915178","score":null,"sort":[1656436573000]},"guestAuthors":[],"slug":"ybca-sf-gipa-guaranteed-income-artists-phase-two","title":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA","publishDate":1656436573,"format":"standard","headTitle":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. [aside postid='arts_13913890']\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\n\u003cp>https://youtu.be/AGMXdl9Rjq0\u003c/p>\n\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. [aside postid='arts_13914743']\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n","blocks":[],"excerpt":"Galería de la Raza, the Chinese Culture Center and four other organizations selected artists integral to their communities.","status":"publish","parent":0,"modified":1705006679,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1985},"headData":{"title":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA | KQED","description":"Galería de la Raza, the Chinese Culture Center and four other organizations selected artists integral to their communities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA","datePublished":"2022-06-28T17:16:13.000Z","dateModified":"2024-01-11T20:57:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915178/ybca-sf-gipa-guaranteed-income-artists-phase-two","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\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>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913890","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\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/AGMXdl9Rjq0'\n title='//www.youtube.com/embed/AGMXdl9Rjq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914743","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\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 is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915178/ybca-sf-gipa-guaranteed-income-artists-phase-two","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_3835","arts_879","arts_3447","arts_17882","arts_3226","arts_2209","arts_1955"],"featImg":"arts_13915367","label":"arts"},"arts_13912590":{"type":"posts","id":"arts_13912590","meta":{"index":"posts_1591205157","site":"arts","id":"13912590","score":null,"sort":[1651105584000]},"guestAuthors":[],"slug":"neon-was-never-brighter-sf-chinatown-art-festival","title":"A Contemporary Art Festival Lights Up San Francisco’s Chinatown","publishDate":1651105584,"format":"standard","headTitle":"A Contemporary Art Festival Lights Up San Francisco’s Chinatown | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The first contemporary art festival in San Francisco’s Chinatown is making a very persuasive argument to carve out a large chunk of your Saturday for a free, outdoor and truly multimedia extravaganza. Among the art forms listed for “\u003ca href=\"https://www.neonwasneverbrighter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Neon Was Never Brighter: A Glimpse into the Future\u003c/a>,” taking place on April 30, are augmented reality, site-specific installation, fashion and scent (!).\u003c/p>\n\u003cp>The day’s many diversions, provided by nearly 30 artists and collectives, are presented by the Chinatown Media & Arts Collaborative (CMAC), a partnership of local organizations that includes the Chinese Historical Society and the Chinese Cultural Center. “Neon Was Never Brighter” is CMAC’s first public event, a kind of proof-of-concept for what the future holds as the project works on its permanent home. In 2021, \u003ca href=\"https://www.sfexaminer.com/news/state-funds-new-chinatown-arts-center-with-26-5-million/\" target=\"_blank\" rel=\"noopener noreferrer\">the state allocated $26.5 million\u003c/a> to CMAC to purchase and develop 800 Grant Ave. into Edge on the Square, a new Asian Pacific Islander arts and media center scheduled to open a block from Portsmouth Square in spring 2025.\u003c/p>\n\u003cp>On Saturday, artists’ projects are distributed throughout the neighborhood with some on view for the duration; events are timed to allow audiences to flit from one showcase to another.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13912591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Wayfinder_Map_only-1.png\" alt=\"\" width=\"1700\" height=\"2200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-800x1035.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-1020x1320.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-160x207.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-768x994.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-1187x1536.png 1187w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-1583x2048.png 1583w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003c/p>\n\u003cp>Not to be missed is Mike Arcega and Paolo Asuncion’s \u003ci>\u003ca href=\"https://www.instagram.com/tnt_traysikel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">TNT Traysikel\u003c/a>\u003c/i>, a vibrantly painted motorcycle and sidecar, which will be on the move 3–10pm. This mobile sculpture/karaoke booth creates an instantaneous party wherever it stops—just follow your ears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another highlight of the festival is \u003ci>\u003ca href=\"https://www.neonwasneverbrighter.org/chinatown-shorts\" target=\"_blank\" rel=\"noopener noreferrer\">Chinatown Shorts: You Are Here\u003c/a>\u003c/i>, a 5–6pm screening at Great Star Theater. This one is sold out, but it can never hurt to try your chances in case free ticket-holders don’t show up, as they are sometimes wont to do. The shorts are sneak previews of films about two Chinatown fashion icons—tour guide and local historian Dorothy Quock and couture designer \u003ca href=\"https://victortungcouture.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Victor Tung\u003c/a>. A fashion show of their creations follows the screenings.\u003c/p>\n\u003cp>And be sure to stop by 800 Grant for Heesoo Kwon’s \u003ci>\u003ca href=\"https://www.neonwasneverbrighter.org/ovulation\" target=\"_blank\" rel=\"noopener noreferrer\">Ovulation\u003c/a>\u003c/i>, on view 3–10pm. The \u003ca href=\"https://www.kqed.org/arts/13909574/sfmoma-2022-seca-finalists\" target=\"_blank\" rel=\"noopener noreferrer\">SECA finalist\u003c/a> presents an endlessly looping video that “captures the moment of rebirth of her female ancestors and herself into Lymusoom” (an autobiographical feminist religion created by the artist in 2017). Stick around for an 8pm performance by LionDanceME to close out the day’s festivities.\u003c/p>\n\u003cp>If Saturday’s program is an indication of CMAC’s intent to support local artists and bring exciting programming into conversation with the neighborhood’s vibrant past and present, the future is indeed bright.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Neon Was Never Brighter: A Glimpse into the Future takes place in San Francisco’s Chinatown on Saturday, April 30, 3–10pm. \u003ca href=\"https://www.neonwasneverbrighter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details and full schedule here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Artist installations and performances fill the neighborhood with a free, outdoor multimedia festival on April 30.","status":"publish","parent":0,"modified":1705006921,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":476},"headData":{"title":"Preview: SF Chinatown Art Festival ‘Neon Was Never Brighter’ | KQED","description":"Artist installations and performances fill the neighborhood with a free, outdoor multimedia festival on April 30.","ogTitle":"A Contemporary Art Festival Lights Up San Francisco’s Chinatown","ogDescription":"","ogImgId":"","twTitle":"A Contemporary Art Festival Lights Up San Francisco’s Chinatown","twDescription":"","twImgId":"","socialTitle":"Preview: SF Chinatown Art Festival ‘Neon Was Never Brighter’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Contemporary Art Festival Lights Up San Francisco’s Chinatown","datePublished":"2022-04-28T00:26:24.000Z","dateModified":"2024-01-11T21:02:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"a-contemporary-art-festival-lights-up-san-franciscos-chinatown","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13912590/neon-was-never-brighter-sf-chinatown-art-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first contemporary art festival in San Francisco’s Chinatown is making a very persuasive argument to carve out a large chunk of your Saturday for a free, outdoor and truly multimedia extravaganza. Among the art forms listed for “\u003ca href=\"https://www.neonwasneverbrighter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Neon Was Never Brighter: A Glimpse into the Future\u003c/a>,” taking place on April 30, are augmented reality, site-specific installation, fashion and scent (!).\u003c/p>\n\u003cp>The day’s many diversions, provided by nearly 30 artists and collectives, are presented by the Chinatown Media & Arts Collaborative (CMAC), a partnership of local organizations that includes the Chinese Historical Society and the Chinese Cultural Center. “Neon Was Never Brighter” is CMAC’s first public event, a kind of proof-of-concept for what the future holds as the project works on its permanent home. In 2021, \u003ca href=\"https://www.sfexaminer.com/news/state-funds-new-chinatown-arts-center-with-26-5-million/\" target=\"_blank\" rel=\"noopener noreferrer\">the state allocated $26.5 million\u003c/a> to CMAC to purchase and develop 800 Grant Ave. into Edge on the Square, a new Asian Pacific Islander arts and media center scheduled to open a block from Portsmouth Square in spring 2025.\u003c/p>\n\u003cp>On Saturday, artists’ projects are distributed throughout the neighborhood with some on view for the duration; events are timed to allow audiences to flit from one showcase to another.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13912591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Wayfinder_Map_only-1.png\" alt=\"\" width=\"1700\" height=\"2200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-800x1035.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-1020x1320.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-160x207.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-768x994.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-1187x1536.png 1187w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Wayfinder_Map_only-1-1583x2048.png 1583w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003c/p>\n\u003cp>Not to be missed is Mike Arcega and Paolo Asuncion’s \u003ci>\u003ca href=\"https://www.instagram.com/tnt_traysikel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">TNT Traysikel\u003c/a>\u003c/i>, a vibrantly painted motorcycle and sidecar, which will be on the move 3–10pm. This mobile sculpture/karaoke booth creates an instantaneous party wherever it stops—just follow your ears.\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>Another highlight of the festival is \u003ci>\u003ca href=\"https://www.neonwasneverbrighter.org/chinatown-shorts\" target=\"_blank\" rel=\"noopener noreferrer\">Chinatown Shorts: You Are Here\u003c/a>\u003c/i>, a 5–6pm screening at Great Star Theater. This one is sold out, but it can never hurt to try your chances in case free ticket-holders don’t show up, as they are sometimes wont to do. The shorts are sneak previews of films about two Chinatown fashion icons—tour guide and local historian Dorothy Quock and couture designer \u003ca href=\"https://victortungcouture.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Victor Tung\u003c/a>. A fashion show of their creations follows the screenings.\u003c/p>\n\u003cp>And be sure to stop by 800 Grant for Heesoo Kwon’s \u003ci>\u003ca href=\"https://www.neonwasneverbrighter.org/ovulation\" target=\"_blank\" rel=\"noopener noreferrer\">Ovulation\u003c/a>\u003c/i>, on view 3–10pm. The \u003ca href=\"https://www.kqed.org/arts/13909574/sfmoma-2022-seca-finalists\" target=\"_blank\" rel=\"noopener noreferrer\">SECA finalist\u003c/a> presents an endlessly looping video that “captures the moment of rebirth of her female ancestors and herself into Lymusoom” (an autobiographical feminist religion created by the artist in 2017). Stick around for an 8pm performance by LionDanceME to close out the day’s festivities.\u003c/p>\n\u003cp>If Saturday’s program is an indication of CMAC’s intent to support local artists and bring exciting programming into conversation with the neighborhood’s vibrant past and present, the future is indeed bright.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Neon Was Never Brighter: A Glimpse into the Future takes place in San Francisco’s Chinatown on Saturday, April 30, 3–10pm. \u003ca href=\"https://www.neonwasneverbrighter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details and full schedule here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13912590/neon-was-never-brighter-sf-chinatown-art-festival","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_2654","arts_3835","arts_659","arts_3649","arts_585"],"featImg":"arts_13912592","label":"arts_140"},"arts_13907351":{"type":"posts","id":"arts_13907351","meta":{"index":"posts_1591205157","site":"arts","id":"13907351","score":null,"sort":[1639696070000]},"guestAuthors":[],"slug":"refugee-women-tell-their-stories-of-pain-and-beauty-in-sofia-cordovas-new-film","title":"Refugee Women Tell Their Stories of Pain and Beauty in Sofía Córdova’s New Film","publishDate":1639696070,"format":"standard","headTitle":"Refugee Women Tell Their Stories of Pain and Beauty in Sofía Córdova’s New Film | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Alejandra hadn’t planned on leaving Guatemala, but she didn’t really have a choice.\u003c/p>\n\u003cp>She had moved to the capital from her rural hometown to get proper schooling for her son, who is deaf. But living in Guatemala City was too expensive as a single mom, so she left and put her own dream of studying law on hold. More hardships followed when a fishing company began dumping waste into the river that sustained her community. Alejandra campaigned to put pressure on the local government to regulate the pollution, but the powerful company had the politicians in its pocket. She knew she was in danger, so she embarked on an arduous journey that took her through Mexico, into I.C.E. custody and, eventually, to the Bay Area, where she’s currently studying and trying to establish a better life for herself and her family.\u003c/p>\n\u003cp>Alejandra’s typically private about the details of how she got here, but she did something unexpected and responded to a call-out from Oakland artist \u003ca href=\"https://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sofía Córdova\u003c/a>, who reached out to local nonprofits to find refugee women willing to tell their stories in her new film.\u003c/p>\n\u003cp>“I looked at it as an opportunity to do something for myself, because I’m a mom of three kids and that takes up most of my time,” Alejandra tells me in Spanish. “This was something just for me. I was able to express my pain, my story, and talk about the things I remember fondly from my hometown. And also what made me immigrate here.”\u003c/p>\n\u003cp>Alejandra is one of the six women featured in Córdova’s new video installation, \u003cem>dawn_chorusiii: the fruit they don’t have here\u003c/em>, screening at \u003ca href=\"https://www.41ross.org/\" target=\"_blank\" rel=\"noopener noreferrer\">41 Ross\u003c/a>, the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>’s art gallery in San Francisco Chinatown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The hour-long film plays like a dreamlike version of a documentary, where the women’s stories weave in and out of one another, interspersed with scripted lines, Córdova’s original musical score and animations by \u003ca href=\"https://krhoades.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Rhoades\u003c/a>. Instead of a linear sequence of events, we get impressionistic, emotionally potent portraits that mix tender recollections of the people and places the women left behind with harrowing accounts of fleeing abuse, gang violence, extreme poverty and political persecution.\u003c/p>\n\u003cp>https://vimeo.com/646640726\u003c/p>\n\u003cp>Córdova planted seeds for the film in 2018, when the San Francisco Arts Commission invited her to create a public art project about sanctuary cities, \u003ca href=\"https://sofiacordova.com/A-Body-Reorganized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Body Reorganized\u003c/em>\u003c/a>. Through that work, she met Tian Shi, who came to the U.S. as an asylum seeker after China’s \u003ca href=\"https://www.nonviolent-conflict.org/chinese-pro-democracy-movement-1987-1989/\" target=\"_blank\" rel=\"noopener noreferrer\">’89 Democracy Movement\u003c/a>. And through him, she connected with one of the women who would later appear in \u003cem>dawn_chorusiii\u003c/em>: Xiang Li, another Chinese dissident who wanted to tell her story of being imprisoned during China’s \u003ca href=\"https://thediplomat.com/2021/07/chinas-709-crackdown-is-still-going-on/\" target=\"_blank\" rel=\"noopener noreferrer\">709 crackdown\u003c/a> in 2015, when police mass arrested lawyers and activists who fought for minority rights and religious freedoms.\u003c/p>\n\u003cp>Struck by Li’s story of escape and survival, Córdova wanted to give more women a platform to be heard, and to create an international conversation that connects Bay Area residents from China, Guatemala, El Salvador and Colombia. Her idea resonated with the Chinese Culture Center’s vision of building solidarity among different communities through art.\u003c/p>\n\u003cp>“Chinatown has always been a safe haven for new immigrants,” says curator Hoi Leung. “And actually some of even the more marginalized groups of immigrants do find home in Chinatown. … It’s about being a kind of resilient neighborhood.\u003ci>”\u003c/i>\u003c/p>\n\u003cp>Through organizations like \u003ca href=\"https://www.gummoon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gum Moon Women’s Residence\u003c/a> and \u003ca href=\"https://ellaparatranslatinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">El/La Para Translatinas\u003c/a>, Córdova met more women who were eager to tell their stories, including Alejandra. They began the project with a trauma-focused grounding session led by therapist group \u003ca href=\"https://yellowchaircollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow Chair Collective\u003c/a>, and psychotherapists were on hand throughout the process if any of the women needed additional support.\u003c/p>\n\u003cp>“They helped us a lot,” says Alejandra. [aside postid='arts_13907281']\u003c/p>\n\u003cp>\u003cem>dawn_chorusiii: the fruit they don’t have here\u003c/em> opens with the women recalling the landscapes of their homelands, conjuring sensory memories of climbing mango trees, swimming in rivers and admiring expansive greenery. (The film takes its name from the story a woman from Colombia tells about family outings for ice cream with flavors of passionfruit, curuba, soursop and guava—tastes that conjure the feeling of home.)\u003c/p>\n\u003cp>“It was really important for me that even though there’s obviously a lot of hardship experienced in the homelands of a lot of these people, there’s also a lot of great beauty, and a lot of really important people, places and things left behind,” Córdova says.\u003c/p>\n\u003cp>The artist wanted to avoid falling back on tropes like the hellscape home country versus the American land of opportunity. Arriving in the United States certainly wasn’t like that for Alejandra, who, in one of the film’s most intense moments, takes out a shoebox where she still keeps the aluminum blanket from her time in I.C.E. detention as a reminder of what she’s endured.\u003c/p>\n\u003cp>“The image of the United States in my country is very different from the reality,” Alejandra says of why she decided to share her journey with the public. “Everyone says over there people will help you, everything will be OK. But the process isn’t like that.” [aside postid='arts_13907118']\u003c/p>\n\u003cp>That was an important angle for Córdova now that media attention on inhumane treatment of asylum seekers has dwindled. Though Donald Trump is no longer in the White House, many of his controversial policies, including “\u003ca href=\"https://www.texastribune.org/2021/12/14/texas-remain-in-mexico-biden-migrants/\" target=\"_blank\" rel=\"noopener noreferrer\">remain in Mexico\u003c/a>,” are still intact.\u003c/p>\n\u003cp>“It is actually materially the same,” says Córdova. “It’s really important to to highlight that these are also not the problems of specific leaders, but they’re the problems of grand national ideologies. And so as long as this country keeps moving in the direction that it’s moving, these problems and their inhumanity will remain the same.”\u003c/p>\n\u003cp>Sharing her story with Córdova was therapeutic for Alejandra, but when it came time to see the finished work at the opening reception of \u003cem>dawn_chorusiii\u003c/em> on Dec. 3, doubt and regret crept in. “I cried and said, ‘Why did I say that? Oh no! How terrible!’ There are things that one wants to keep to oneself,” she says.\u003c/p>\n\u003cp>But those feeling began to dissipate when she saw how much people appreciated the film. “People were asking me questions and I started to feel better and more calm,” she says. “But at first I was overwhelmed.”\u003c/p>\n\u003cfigure id=\"attachment_13907412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/sofia-and-alejandra-2-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova and Alejandra watch ‘dawn_chorusiii: the fruit they don’t have here’ at the opening reception at 41 Ross. \u003ccite>(Courtesy of 41 Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film plays on a loop during gallery hours, and viewers can sit on a bench or lounge on one of the gallery’s pillows, dropping in and out of the story as they please. But even after the exhibition ends, the work will have a lasting impact on Córdova and the women who collaborated with her.\u003c/p>\n\u003cp>“We all have these really, I think, very sweet, very real friendships as a result,” says Córdova. “To use a word that I hate, it felt so genuine, these connections. I feel very bonded to all of them, and I feel very grateful to them how much they shared. It’s kind of like we’re bound for life in a very real way. I text them pretty regularly.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.41ross.org/current\" target=\"_blank\" rel=\"noopener noreferrer\">dawn_chorusiii: the fruit they don’t have here\u003c/a>’ is on view at 41 Ross through Jan. 29, 2022. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The installation at 41 Ross weaves fond memories of fruits and rivers with hard truths about migration.","status":"publish","parent":0,"modified":1705007377,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1348},"headData":{"title":"Refugee Women Tell Their Stories of Pain and Beauty in Sofía Córdova’s New Film | KQED","description":"The installation at 41 Ross weaves fond memories of fruits and rivers with hard truths about migration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Refugee Women Tell Their Stories of Pain and Beauty in Sofía Córdova’s New Film","datePublished":"2021-12-16T23:07:50.000Z","dateModified":"2024-01-11T21:09:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907351/refugee-women-tell-their-stories-of-pain-and-beauty-in-sofia-cordovas-new-film","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alejandra hadn’t planned on leaving Guatemala, but she didn’t really have a choice.\u003c/p>\n\u003cp>She had moved to the capital from her rural hometown to get proper schooling for her son, who is deaf. But living in Guatemala City was too expensive as a single mom, so she left and put her own dream of studying law on hold. More hardships followed when a fishing company began dumping waste into the river that sustained her community. Alejandra campaigned to put pressure on the local government to regulate the pollution, but the powerful company had the politicians in its pocket. She knew she was in danger, so she embarked on an arduous journey that took her through Mexico, into I.C.E. custody and, eventually, to the Bay Area, where she’s currently studying and trying to establish a better life for herself and her family.\u003c/p>\n\u003cp>Alejandra’s typically private about the details of how she got here, but she did something unexpected and responded to a call-out from Oakland artist \u003ca href=\"https://www.sofiacordova.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sofía Córdova\u003c/a>, who reached out to local nonprofits to find refugee women willing to tell their stories in her new film.\u003c/p>\n\u003cp>“I looked at it as an opportunity to do something for myself, because I’m a mom of three kids and that takes up most of my time,” Alejandra tells me in Spanish. “This was something just for me. I was able to express my pain, my story, and talk about the things I remember fondly from my hometown. And also what made me immigrate here.”\u003c/p>\n\u003cp>Alejandra is one of the six women featured in Córdova’s new video installation, \u003cem>dawn_chorusiii: the fruit they don’t have here\u003c/em>, screening at \u003ca href=\"https://www.41ross.org/\" target=\"_blank\" rel=\"noopener noreferrer\">41 Ross\u003c/a>, the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>’s art gallery in San Francisco Chinatown.\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 hour-long film plays like a dreamlike version of a documentary, where the women’s stories weave in and out of one another, interspersed with scripted lines, Córdova’s original musical score and animations by \u003ca href=\"https://krhoades.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Rhoades\u003c/a>. Instead of a linear sequence of events, we get impressionistic, emotionally potent portraits that mix tender recollections of the people and places the women left behind with harrowing accounts of fleeing abuse, gang violence, extreme poverty and political persecution.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"646640726"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Córdova planted seeds for the film in 2018, when the San Francisco Arts Commission invited her to create a public art project about sanctuary cities, \u003ca href=\"https://sofiacordova.com/A-Body-Reorganized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Body Reorganized\u003c/em>\u003c/a>. Through that work, she met Tian Shi, who came to the U.S. as an asylum seeker after China’s \u003ca href=\"https://www.nonviolent-conflict.org/chinese-pro-democracy-movement-1987-1989/\" target=\"_blank\" rel=\"noopener noreferrer\">’89 Democracy Movement\u003c/a>. And through him, she connected with one of the women who would later appear in \u003cem>dawn_chorusiii\u003c/em>: Xiang Li, another Chinese dissident who wanted to tell her story of being imprisoned during China’s \u003ca href=\"https://thediplomat.com/2021/07/chinas-709-crackdown-is-still-going-on/\" target=\"_blank\" rel=\"noopener noreferrer\">709 crackdown\u003c/a> in 2015, when police mass arrested lawyers and activists who fought for minority rights and religious freedoms.\u003c/p>\n\u003cp>Struck by Li’s story of escape and survival, Córdova wanted to give more women a platform to be heard, and to create an international conversation that connects Bay Area residents from China, Guatemala, El Salvador and Colombia. Her idea resonated with the Chinese Culture Center’s vision of building solidarity among different communities through art.\u003c/p>\n\u003cp>“Chinatown has always been a safe haven for new immigrants,” says curator Hoi Leung. “And actually some of even the more marginalized groups of immigrants do find home in Chinatown. … It’s about being a kind of resilient neighborhood.\u003ci>”\u003c/i>\u003c/p>\n\u003cp>Through organizations like \u003ca href=\"https://www.gummoon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gum Moon Women’s Residence\u003c/a> and \u003ca href=\"https://ellaparatranslatinas.org/\" target=\"_blank\" rel=\"noopener noreferrer\">El/La Para Translatinas\u003c/a>, Córdova met more women who were eager to tell their stories, including Alejandra. They began the project with a trauma-focused grounding session led by therapist group \u003ca href=\"https://yellowchaircollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow Chair Collective\u003c/a>, and psychotherapists were on hand throughout the process if any of the women needed additional support.\u003c/p>\n\u003cp>“They helped us a lot,” says Alejandra. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907281","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>dawn_chorusiii: the fruit they don’t have here\u003c/em> opens with the women recalling the landscapes of their homelands, conjuring sensory memories of climbing mango trees, swimming in rivers and admiring expansive greenery. (The film takes its name from the story a woman from Colombia tells about family outings for ice cream with flavors of passionfruit, curuba, soursop and guava—tastes that conjure the feeling of home.)\u003c/p>\n\u003cp>“It was really important for me that even though there’s obviously a lot of hardship experienced in the homelands of a lot of these people, there’s also a lot of great beauty, and a lot of really important people, places and things left behind,” Córdova says.\u003c/p>\n\u003cp>The artist wanted to avoid falling back on tropes like the hellscape home country versus the American land of opportunity. Arriving in the United States certainly wasn’t like that for Alejandra, who, in one of the film’s most intense moments, takes out a shoebox where she still keeps the aluminum blanket from her time in I.C.E. detention as a reminder of what she’s endured.\u003c/p>\n\u003cp>“The image of the United States in my country is very different from the reality,” Alejandra says of why she decided to share her journey with the public. “Everyone says over there people will help you, everything will be OK. But the process isn’t like that.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was an important angle for Córdova now that media attention on inhumane treatment of asylum seekers has dwindled. Though Donald Trump is no longer in the White House, many of his controversial policies, including “\u003ca href=\"https://www.texastribune.org/2021/12/14/texas-remain-in-mexico-biden-migrants/\" target=\"_blank\" rel=\"noopener noreferrer\">remain in Mexico\u003c/a>,” are still intact.\u003c/p>\n\u003cp>“It is actually materially the same,” says Córdova. “It’s really important to to highlight that these are also not the problems of specific leaders, but they’re the problems of grand national ideologies. And so as long as this country keeps moving in the direction that it’s moving, these problems and their inhumanity will remain the same.”\u003c/p>\n\u003cp>Sharing her story with Córdova was therapeutic for Alejandra, but when it came time to see the finished work at the opening reception of \u003cem>dawn_chorusiii\u003c/em> on Dec. 3, doubt and regret crept in. “I cried and said, ‘Why did I say that? Oh no! How terrible!’ There are things that one wants to keep to oneself,” she says.\u003c/p>\n\u003cp>But those feeling began to dissipate when she saw how much people appreciated the film. “People were asking me questions and I started to feel better and more calm,” she says. “But at first I was overwhelmed.”\u003c/p>\n\u003cfigure id=\"attachment_13907412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/sofia-and-alejandra-2-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/sofia-and-alejandra-2.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Córdova and Alejandra watch ‘dawn_chorusiii: the fruit they don’t have here’ at the opening reception at 41 Ross. \u003ccite>(Courtesy of 41 Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film plays on a loop during gallery hours, and viewers can sit on a bench or lounge on one of the gallery’s pillows, dropping in and out of the story as they please. But even after the exhibition ends, the work will have a lasting impact on Córdova and the women who collaborated with her.\u003c/p>\n\u003cp>“We all have these really, I think, very sweet, very real friendships as a result,” says Córdova. “To use a word that I hate, it felt so genuine, these connections. I feel very bonded to all of them, and I feel very grateful to them how much they shared. It’s kind of like we’re bound for life in a very real way. I text them pretty regularly.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.41ross.org/current\" target=\"_blank\" rel=\"noopener noreferrer\">dawn_chorusiii: the fruit they don’t have here\u003c/a>’ is on view at 41 Ross through Jan. 29, 2022. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907351/refugee-women-tell-their-stories-of-pain-and-beauty-in-sofia-cordovas-new-film","authors":["11387"],"categories":["arts_1"],"tags":["arts_3835","arts_10278","arts_1773","arts_901"],"featImg":"arts_13907411","label":"arts"},"arts_13897159":{"type":"posts","id":"arts_13897159","meta":{"index":"posts_1591205157","site":"arts","id":"13897159","score":null,"sort":[1621551518000]},"guestAuthors":[],"slug":"at-chinese-culture-center-a-collective-experience-borne-out-of-difference","title":"At Chinese Culture Center, a Collective Experience Borne Out of Difference","publishDate":1621551518,"format":"standard","headTitle":"At Chinese Culture Center, a Collective Experience Borne Out of Difference | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In otherworldly utopias and sensitive documentary films, the works in \u003ci>\u003ca href=\"https://www.cccsf.us/post/women%E6%88%91%E5%80%91-from-her-to-here\" rel=\"noopener noreferrer\" target=\"_blank\">WOMEN我們: From Her to Here\u003c/a>\u003c/i> at San Francisco’s Chinese Culture Center San Francisco explore queer and feminist lifeworlds from Asian and Asian American perspectives. The exhibition’s title draws on the Chinese word for “we,” 我們, which in Mandarin is homophonous to the English word “women.” \u003c/p>\n\u003cp>Propelled by a sense of togetherness invoked by the title, the exhibition, which is the third in the CCC’s \u003ci>WOMEN我們\u003c/i> series, creates a sense of unity within difference among artists who span generations and continents. Across a great variety of work the exhibition as a whole sings; its disparate parts come together in a harmony that is neither reductive nor strained. \u003c/p>\n\u003cp>\u003ci>WOMEN我們\u003c/i> is true to two aspects of the word “we”: there is a sense of belonging and collective experience—but one that is not borne out of sameness. A unifying factor among the artworks is how the past and future, along with play and sobriety, traverse each other’s boundaries. These works resist stabilization and didacticism, instead presenting the artist’s identities, and those of their subjects, as dynamic and ongoing creations.\u003c/p>\n\u003cfigure id=\"attachment_13897182\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1614\" class=\"size-full wp-image-13897182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-1536x969.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-2048x1291.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-1920x1211.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Heesoo Kwon, ‘Leymusoom Bridge’ (installation view), 2021. \u003ccite>(Courtesy of Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.heesookwon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Heesoo Kwon\u003c/a>’s \u003ci>Leymusoom Bridge\u003c/i> (2021) is a captivating video installation that continues the artist’s exploration of what she calls an “autobiographical feminist religion.” On one narrow wall, a digitally animated nude woman walks in place. With a determined facial expression and posture, the woman, whose skin bears a green tint, walks against a background that appears simultaneously cosmic and submarine. The woman walks continuously, with the background never receding, while events unfold on the adjacent wall.\u003c/p>\n\u003cp>At one point in the piece, a section of San Francisco’s Chinatown, seen as if from satellite, floats against a luminous celestial background. The Hilton hotel that houses the CCC stands out, along with the pedestrian bridge that connects the hotel to Portsmouth Square, a popular social space in the neighborhood. Eventually, water fills the streets and rises to subsume the bridge and then the rest of the Hilton. Organic matter covers the concrete surfaces and several women stand, swim and dance in this dreamy sea-space. Kwon’s utopia evokes both tradition—like the Korean shamanism she draws upon—and rebirth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13894499']Taiwanese artist Huang Meng Wen similarly plays with history in her \u003ci>Suits and Corsages\u003c/i> project (2015—present), which developed out of the artist’s desire to learn how queer people lived in Taiwan prior to an increased Western influence starting in the 1980s. The series of photographs of videos focuses on a group of women from the 1950s and 1960s who called themselves “women in pants,” a reference to their use of suits to express their gender identity and sexual orientation against prevailing social norms. \u003c/p>\n\u003cp>In her photographs, Huang recreates, re-lives and reimagines this history. In one golden-framed work that resembles a family portrait, a woman sits in a chair, flanked by family members, wearing leather oxfords and a black suit with the jacket resting on her shoulders. She sits in a cool, confident stance with a slight smirk. This smile seems to break the fourth wall, confiding in the viewer something mischievous about this moment in history and, correspondingly, these artworks.\u003c/p>\n\u003cfigure id=\"attachment_13897180\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13897180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Pun, ‘In & Out’ series, 2014-2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hong Kong artist \u003ca href=\"http://www.punhoyan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Pun\u003c/a> also subverts the traditional form of portrait photography in her \u003ci>In & Out Series\u003c/i> (2014–2018). The photographs show hands set against stark black backgrounds, as one might see in glossy editorials. By employing the language of studio portraiture, the photographs simultaneously indicate portraiture while refusing its typical subject, the face. \u003c/p>\n\u003cp>Pun’s photographs emphasize the body as a carrier and a means of enacting one’s identity. She write of her project, “for lesbians, their hands have deeper and more personal meaning.” Specifically, the hands and the various gestures they make are representations of lesbian intimacy, drawn from interviews with community members in Hong Kong, Taiwanese and U.S. Though the hands may seem disembodied by conventional standards, the portraits locate personhood in limbs and extremities, insisting on the importance of the body and its agency to the self.\u003c/p>\n\u003cp>In each of these works and many others in the exhibition—such as \u003ca href=\"http://www.ttakemoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Takemoto\u003c/a>’s abstract filmic exploration of queer desire refracted through the life of San Francisco physician Margaret Chung (1889–1959) and \u003ca href=\"https://chelseawong.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Ryoko Wong\u003c/a>’s vibrant paintings of historical sites of Asian queer culture in San Francisco—the artists’ playfulness and unrestraint continually seek to create new worlds. These worlds do not break with history but rather are shaped by past icons, queer histories and ancestors. In this sense, the “we” of the exhibition’s title extends not just across the artists but to those who came before, and those who follow, with whom they are in dialogue.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘WOMEN我們: From Her to Here’ is on view at the Chinese Culture Center (750 Kearny St., 3rd Floor) and online through Aug. 28. \u003ca href=\"https://www.cccsf.us/women-from-her-to-here\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The artwork of ‘WOMEN我們: From Her to Here’ explores queer and feminist life from Asian and Asian American perspectives.","status":"publish","parent":0,"modified":1705008347,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":900},"headData":{"title":"At Chinese Culture Center, a Collective Experience Borne Out of Difference | KQED","description":"The artwork of ‘WOMEN我們: From Her to Here’ explores queer and feminist life from Asian and Asian American perspectives.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At Chinese Culture Center, a Collective Experience Borne Out of Difference","datePublished":"2021-05-20T22:58:38.000Z","dateModified":"2024-01-11T21:25:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897159/at-chinese-culture-center-a-collective-experience-borne-out-of-difference","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In otherworldly utopias and sensitive documentary films, the works in \u003ci>\u003ca href=\"https://www.cccsf.us/post/women%E6%88%91%E5%80%91-from-her-to-here\" rel=\"noopener noreferrer\" target=\"_blank\">WOMEN我們: From Her to Here\u003c/a>\u003c/i> at San Francisco’s Chinese Culture Center San Francisco explore queer and feminist lifeworlds from Asian and Asian American perspectives. The exhibition’s title draws on the Chinese word for “we,” 我們, which in Mandarin is homophonous to the English word “women.” \u003c/p>\n\u003cp>Propelled by a sense of togetherness invoked by the title, the exhibition, which is the third in the CCC’s \u003ci>WOMEN我們\u003c/i> series, creates a sense of unity within difference among artists who span generations and continents. Across a great variety of work the exhibition as a whole sings; its disparate parts come together in a harmony that is neither reductive nor strained. \u003c/p>\n\u003cp>\u003ci>WOMEN我們\u003c/i> is true to two aspects of the word “we”: there is a sense of belonging and collective experience—but one that is not borne out of sameness. A unifying factor among the artworks is how the past and future, along with play and sobriety, traverse each other’s boundaries. These works resist stabilization and didacticism, instead presenting the artist’s identities, and those of their subjects, as dynamic and ongoing creations.\u003c/p>\n\u003cfigure id=\"attachment_13897182\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1614\" class=\"size-full wp-image-13897182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-1536x969.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-2048x1291.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/2.-WOMEN_Heesoo-Kwon_Installation-View-1920x1211.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Heesoo Kwon, ‘Leymusoom Bridge’ (installation view), 2021. \u003ccite>(Courtesy of Chinese Culture Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.heesookwon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Heesoo Kwon\u003c/a>’s \u003ci>Leymusoom Bridge\u003c/i> (2021) is a captivating video installation that continues the artist’s exploration of what she calls an “autobiographical feminist religion.” On one narrow wall, a digitally animated nude woman walks in place. With a determined facial expression and posture, the woman, whose skin bears a green tint, walks against a background that appears simultaneously cosmic and submarine. The woman walks continuously, with the background never receding, while events unfold on the adjacent wall.\u003c/p>\n\u003cp>At one point in the piece, a section of San Francisco’s Chinatown, seen as if from satellite, floats against a luminous celestial background. The Hilton hotel that houses the CCC stands out, along with the pedestrian bridge that connects the hotel to Portsmouth Square, a popular social space in the neighborhood. Eventually, water fills the streets and rises to subsume the bridge and then the rest of the Hilton. Organic matter covers the concrete surfaces and several women stand, swim and dance in this dreamy sea-space. Kwon’s utopia evokes both tradition—like the Korean shamanism she draws upon—and rebirth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894499","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Taiwanese artist Huang Meng Wen similarly plays with history in her \u003ci>Suits and Corsages\u003c/i> project (2015—present), which developed out of the artist’s desire to learn how queer people lived in Taiwan prior to an increased Western influence starting in the 1980s. The series of photographs of videos focuses on a group of women from the 1950s and 1960s who called themselves “women in pants,” a reference to their use of suits to express their gender identity and sexual orientation against prevailing social norms. \u003c/p>\n\u003cp>In her photographs, Huang recreates, re-lives and reimagines this history. In one golden-framed work that resembles a family portrait, a woman sits in a chair, flanked by family members, wearing leather oxfords and a black suit with the jacket resting on her shoulders. She sits in a cool, confident stance with a slight smirk. This smile seems to break the fourth wall, confiding in the viewer something mischievous about this moment in history and, correspondingly, these artworks.\u003c/p>\n\u003cfigure id=\"attachment_13897180\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13897180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/5.-Nicole-Pun_In-Out_-Archival-Prints_Courtesy-of-the-artist-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Pun, ‘In & Out’ series, 2014-2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hong Kong artist \u003ca href=\"http://www.punhoyan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Pun\u003c/a> also subverts the traditional form of portrait photography in her \u003ci>In & Out Series\u003c/i> (2014–2018). The photographs show hands set against stark black backgrounds, as one might see in glossy editorials. By employing the language of studio portraiture, the photographs simultaneously indicate portraiture while refusing its typical subject, the face. \u003c/p>\n\u003cp>Pun’s photographs emphasize the body as a carrier and a means of enacting one’s identity. She write of her project, “for lesbians, their hands have deeper and more personal meaning.” Specifically, the hands and the various gestures they make are representations of lesbian intimacy, drawn from interviews with community members in Hong Kong, Taiwanese and U.S. Though the hands may seem disembodied by conventional standards, the portraits locate personhood in limbs and extremities, insisting on the importance of the body and its agency to the self.\u003c/p>\n\u003cp>In each of these works and many others in the exhibition—such as \u003ca href=\"http://www.ttakemoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Takemoto\u003c/a>’s abstract filmic exploration of queer desire refracted through the life of San Francisco physician Margaret Chung (1889–1959) and \u003ca href=\"https://chelseawong.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Ryoko Wong\u003c/a>’s vibrant paintings of historical sites of Asian queer culture in San Francisco—the artists’ playfulness and unrestraint continually seek to create new worlds. These worlds do not break with history but rather are shaped by past icons, queer histories and ancestors. In this sense, the “we” of the exhibition’s title extends not just across the artists but to those who came before, and those who follow, with whom they are in dialogue.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘WOMEN我們: From Her to Here’ is on view at the Chinese Culture Center (750 Kearny St., 3rd Floor) and online through Aug. 28. \u003ca href=\"https://www.cccsf.us/women-from-her-to-here\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897159/at-chinese-culture-center-a-collective-experience-borne-out-of-difference","authors":["187"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_3835","arts_769","arts_585"],"featImg":"arts_13897179","label":"arts_140"},"arts_13882302":{"type":"posts","id":"arts_13882302","meta":{"index":"posts_1591205157","site":"arts","id":"13882302","score":null,"sort":[1592599466000]},"guestAuthors":[],"slug":"mural-painting-in-sfs-chinatown-in-solidarity-with-black-lives-matter","title":"Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter","publishDate":1592599466,"format":"standard","headTitle":"Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Chinese Culture Center welcomes volunteers to help paint a mural for racial justice in Portsmouth Square.","status":"publish","parent":0,"modified":1705020543,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":131},"headData":{"title":"Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter | KQED","description":"The Chinese Culture Center welcomes volunteers to help paint a mural for racial justice in Portsmouth Square.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mural Painting in SF’s Chinatown in Solidarity with Black Lives Matter","datePublished":"2020-06-19T20:44:26.000Z","dateModified":"2024-01-12T00:49:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13882302/mural-painting-in-sfs-chinatown-in-solidarity-with-black-lives-matter","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In solidarity with the Black Lives Matter movement, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a> has organized a day of painting in Portsmouth Square.\u003c/p>\n\u003cp>On Saturday, June 20, 11am–2pm, artists and volunteers, led by artist Vida Kuang, will paint messages in support of racial justice in the historic gathering place, continuing the square’s legacy as a site of actions, protests and resistance to white supremacy.\u003c/p>\n\u003cp>Members of the public are invited to join in the project, which will render messages in both English and Chinese. The CCC will provide painting supplies, gloves, hand-sanitizer and instructions. Volunteers are asked to bring “mess-friendly clothing” and open minds.\u003c/p>\n\u003cp>The event is timed to coincide with \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth\u003c/a> celebrations honoring Black freedom and resistance.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/1661384060682427/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13882302/mural-painting-in-sfs-chinatown-in-solidarity-with-black-lives-matter","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_3156","arts_2654","arts_3835","arts_1146","arts_585"],"featImg":"arts_13882304","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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