SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows
Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work
Even As SFAI Closes, Students Rally to Save It
Your Guide to This Summer’s Don’t-Miss Visual Art Shows
Tracing Frida and Diego's Footsteps in the Bay
The Best Art I Saw in 2021
Frida Kahlo Just Shattered an Auction Record, Ousting Her Husband
In Anniversary Show, Alumni Address SFAI’s Complex 150-Year Legacy
Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale
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In a perfect world, museum collections, part of our region’s cultural fabric, would be freely accessible — but until that day comes, we have to cling tightly to opportunities like SFMOMA’s upcoming Free Family Day. [aside postID='news_11943906']\u003c/p>\n\u003cp>While visitors 18 and under always receive free admission to the museum, on Sunday, Jan. 14, up to four adults accompanying a child or teen can also enjoy SFMOMA without stressing over a $30 ticket. And while there are plenty of current shows which might appeal to younger audiences (\u003ca href=\"https://www.sfmoma.org/exhibition/wolfgang-tillmans-to-look-without-fear/\">Wolfgang Tillmans\u003c/a> for the budding photographer, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i> for those who love a bit of sparkle, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> for the musically inclined), Sunday will be one of the last opportunities to see two very important ones.\u003c/p>\n\u003cp>The first is the monumental installation of Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural, which has been on display in the Roberts Family Gallery since June 2021. If you haven’t seen it yet, I’m not sure what you’ve been doing, but this dense, truly awe-inspiring fresco leaves public view after Jan. 21. Given the ongoing legal dispute between SFMOMA and City College of San Francisco over expenses related to the mural’s relocation and storage, combined with the fact that the building it’s meant to live in has yet to be built, I’m not sure when we’ll next get a chance to bask in its presence.\u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"2048\" height=\"611\" class=\"size-full wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘Pan American Unity,’ 1940. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show is \u003ci>\u003ca href=\"https://www.kqed.org/arts/13936714/pacita-abad-sfmoma-review\">Pacita Abad\u003c/a>\u003c/i>, closing Jan. 28. Do not miss this beautiful retrospective of the Philippines-born artist who drew materials and methods from her international travels, which allowed her to fully absorb the traditional craft practices she met along the way. There is nothing stuffy about this exhibition — painted textiles hang from the ceiling, the walls zing with bright shades of paint and Abad’s thrilling combinations of color and texture show the process of their making.\u003c/p>\n\u003cp>In that spirit, Sunday’s family day will have a number of opportunities for hands-on art making in the museum’s fourth floor “white box,” and a partnership with SOMA Pilipinas will bring performances and a scavenger hunt to the museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SFMOMA’s \u003ca href=\"https://www.sfmoma.org/visit/free-family-day-faq/\">Free Family Day\u003c/a> is Jan. 14, 10 a.m.–6 p.m. You can \u003ca href=\"https://tickets.sfmoma.org/tickets/type=all\">reserve tickets\u003c/a> in advance.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The museum welcomes up to four adults with a child or teen for a day of family-friendly programming. ","status":"publish","parent":0,"modified":1705002912,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":446},"headData":{"title":"SFMOMA Hosts a Free Family Day on Jan. 14 | KQED","description":"The museum welcomes up to four adults with a child or teen for a day of family-friendly programming. ","ogTitle":"SFMOMA Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","ogDescription":"","ogImgId":"","twTitle":"SFMOMA Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","twDescription":"","twImgId":"","socialTitle":"SFMOMA Hosts a Free Family Day on Jan. 14 %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA’s Free Family Day on Jan. 14: A Last Chance to See Two Great Shows","datePublished":"2024-01-09T22:15:14.000Z","dateModified":"2024-01-11T19:55:12.000Z","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/13940225/sfmoma-free-family-day-jan-14-pacita-abad-diego-rivera","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Museum tickets (like most things) have gotten more and more expensive, which is why it’s become altogether necessary to keep track of \u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">various local institutions’ free days\u003c/a>. In a perfect world, museum collections, part of our region’s cultural fabric, would be freely accessible — but until that day comes, we have to cling tightly to opportunities like SFMOMA’s upcoming Free Family Day. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11943906","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While visitors 18 and under always receive free admission to the museum, on Sunday, Jan. 14, up to four adults accompanying a child or teen can also enjoy SFMOMA without stressing over a $30 ticket. And while there are plenty of current shows which might appeal to younger audiences (\u003ca href=\"https://www.sfmoma.org/exhibition/wolfgang-tillmans-to-look-without-fear/\">Wolfgang Tillmans\u003c/a> for the budding photographer, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13933658/sitting-on-chrome-sfmoma-review\">Sitting on Chrome\u003c/a>\u003c/i> for those who love a bit of sparkle, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/ragnar-kjartansson-the-visitors/\">The Visitors\u003c/a>\u003c/i> for the musically inclined), Sunday will be one of the last opportunities to see two very important ones.\u003c/p>\n\u003cp>The first is the monumental installation of Diego Rivera’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">Pan American Unity\u003c/a>\u003c/i> mural, which has been on display in the Roberts Family Gallery since June 2021. If you haven’t seen it yet, I’m not sure what you’ve been doing, but this dense, truly awe-inspiring fresco leaves public view after Jan. 21. Given the ongoing legal dispute between SFMOMA and City College of San Francisco over expenses related to the mural’s relocation and storage, combined with the fact that the building it’s meant to live in has yet to be built, I’m not sure when we’ll next get a chance to bask in its presence.\u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"2048\" height=\"611\" class=\"size-full wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘Pan American Unity,’ 1940. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second show is \u003ci>\u003ca href=\"https://www.kqed.org/arts/13936714/pacita-abad-sfmoma-review\">Pacita Abad\u003c/a>\u003c/i>, closing Jan. 28. Do not miss this beautiful retrospective of the Philippines-born artist who drew materials and methods from her international travels, which allowed her to fully absorb the traditional craft practices she met along the way. There is nothing stuffy about this exhibition — painted textiles hang from the ceiling, the walls zing with bright shades of paint and Abad’s thrilling combinations of color and texture show the process of their making.\u003c/p>\n\u003cp>In that spirit, Sunday’s family day will have a number of opportunities for hands-on art making in the museum’s fourth floor “white box,” and a partnership with SOMA Pilipinas will bring performances and a scavenger hunt to the museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SFMOMA’s \u003ca href=\"https://www.sfmoma.org/visit/free-family-day-faq/\">Free Family Day\u003c/a> is Jan. 14, 10 a.m.–6 p.m. You can \u003ca href=\"https://tickets.sfmoma.org/tickets/type=all\">reserve tickets\u003c/a> in advance.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940225/sfmoma-free-family-day-jan-14-pacita-abad-diego-rivera","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2647","arts_1381","arts_8836","arts_585","arts_901"],"featImg":"arts_13936721","label":"arts_140"},"arts_13930489":{"type":"posts","id":"arts_13930489","meta":{"index":"posts_1591205157","site":"arts","id":"13930489","score":null,"sort":[1686776720000]},"guestAuthors":[],"slug":"pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work","title":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","publishDate":1686776720,"format":"standard","headTitle":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>[aside postid='news_11848986']The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\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>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.","status":"publish","parent":0,"modified":1705005374,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1021},"headData":{"title":"Review: SF Opera’s ‘El último sueño de Frida y Diego’ | KQED","description":"Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.","ogTitle":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","ogDescription":"","ogImgId":"","twTitle":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","twDescription":"","twImgId":"","socialTitle":"Review: SF Opera’s ‘El último sueño de Frida y Diego’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work","datePublished":"2023-06-14T21:05:20.000Z","dateModified":"2024-01-11T20:36:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David John Chávez","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13930489/pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11848986","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\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>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\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>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930489/pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work","authors":["byline_arts_13930489"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_15393","arts_2647","arts_4083","arts_6387","arts_763","arts_769","arts_1071"],"featImg":"arts_13930503","label":"arts"},"arts_13916517":{"type":"posts","id":"arts_13916517","meta":{"index":"posts_1591205157","site":"arts","id":"13916517","score":null,"sort":[1658504138000]},"guestAuthors":[],"slug":"sfai-closed-students-for-action-usf-aquisition","title":"Even As SFAI Closes, Students Rally to Save It","publishDate":1658504138,"format":"standard","headTitle":"Even As SFAI Closes, Students Rally to Save It | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The morning of July 15, five BFA students stood in the San Francisco Art Institute’s Diego Rivera Gallery, talking about their work. They’d received their diplomas three days earlier in a small, bittersweet ceremony on the Chestnut Street campus’ brutalist rooftop. Now they were fielding critiques and questions from a group of three arts professionals, myself included.\u003c/p>\n\u003cp>Besides the gloomy superlative of comprising the entirety of the “last BFA class” in SFAI’s storied 151-year history, these five students are like so many of the SFAI students I’ve met over the years: dedicated artists, excited to move forward in their practices, and in possession of a healthy disdain for all things conventional and institutional. \u003c/p>\n\u003cp>Over the past two years, SFAI students, staff and faculty have experienced a pandemic, a closed campus, remote art instruction, transfers, layoffs, and foreclosure proceedings. Finally, as \u003ca href=\"https://sfai.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> during that BFA show critique, they witnessed the official end of SFAI’s academic programs. \u003c/p>\n\u003cp>[aside postID='arts_13908825']A hoped-for “\u003ca href=\"https://www.kqed.org/arts/13908825/sfai-usf-merger-sale\" rel=\"noopener noreferrer\" target=\"_blank\">merger\u003c/a>” with the University of San Francisco, first reported in early February, had fallen through. All staff and faculty were terminated. The Board of Trustees planned to form a nonprofit foundation to protect the school’s history and archives. The students who were able to finish their degrees in an accelerated summer program took down their shows and packed up their art, the school’s doors closing behind them. \u003c/p>\n\u003cp>Yet even at this juncture, while SFAI is describing itself in funereal terms, a small group of students is working with the Board of Trustees to save the institution. \u003ca href=\"https://sfanow.wixsite.com/my-site-1\" rel=\"noopener noreferrer\" target=\"_blank\">Students For Action\u003c/a>, led by a core trio of Grey Dey, Kristin Gundlach and Bianca Lago, hopes to raise $25 million before Aug. 15, an amount they believe will create a three-year pathway for the school. Ultimately, the goal is to stave off bankruptcy, hibernate until fall 2023, restructure, and reopen as an accredited degree-granting institution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This type of hope is the story of SFAI, over and over again. Even when circumstances appear dire, those who believe in the school’s mission—and stand to be most derailed by its closure—step up for yet another last-ditch effort. After the news of July 15, while mournful alums posted on social media, Dey, Gunlach and Lago sent emails and scheduled fundraising meetings. \u003c/p>\n\u003cp>“SF without SFAI is just unimaginable,” Dey says.\u003c/p>\n\u003cfigure id=\"attachment_13841230\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Courtyard.jpg\" alt=\"Crowds in the North Beach campus' courtyard during SFAI's 2016 commencement celebrations.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13841230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Crowds in the North Beach campus’ courtyard during SFAI’s 2016 commencement celebrations. \u003ccite>(Claudine Gosset)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The hope, of course, is that some miracle happens’\u003c/h2>\n\u003cp>Students for Action formed in the wake of a meeting in early May, when it became clear that the acquisition negotiations between USF and SFAI were not going as planned. “We realized that the board had their hands tied and there was a very small number of people that were able to really help,” Lago says. “We felt that there were alternative routes that we could take.”\u003c/p>\n\u003cp>What Lago’s referring to is the January letter of intent that required SFAI to negotiate with USF exclusively until June 30. “They were technically allowed to fundraise,” Gundlach says, “but part of the LOI required them to do their best to make sure that the negotiations would go through and that USF and SFAI would both benefit.” The students, however, were not bound by this agreement.\u003c/p>\n\u003cp>[aside postID='arts_13892120']Many ad hoc groups have formed around SFAI over the past two years, after the school first announced plans to halt enrollment and transfer its remaining students elsewhere. Those include the remarkable grassroots undertaking of the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" rel=\"noopener noreferrer\" target=\"_blank\">Reimagine Committee\u003c/a> and a brief flirtation with a class-action lawsuit, but Students for Action says they’re taking an altogether different approach. \u003c/p>\n\u003cp>While all three have plenty of reasons to feel misled by SFAI leadership (Gundlach and Lago are halfway through their two-year MFA degrees, and Dey was set to receive a BFA in spring 2023), they are now working in conjunction with the Board of Trustees.\u003c/p>\n\u003cp>“What’s really different this time is the emphasis on collaborative pathways and how we’re looking to restructure the school not only administratively, but also as a center of the arts in San Francisco,” Dey says. They’re open to working with tech companies, government entities and other nonprofits. The nonprofit Bridge Span has committed to helping restructure the school if they can secure the funding to continue. And while $25 million is the goal, Students for Action is mindful that’s a big number. \u003c/p>\n\u003cp>“The hope, of course, is that some miracle happens and we have the $25 million and we can work with that in our hands and reshape everything,” Gundlach says. If that’s not achievable, directing any and all funds towards the preservation of the school’s archives is their top priority. \u003c/p>\n\u003cp>The group is working towards an Aug. 15 deadline with the understanding that the school will be forced to to declare bankruptcy on this date. (When questioned on this detail, SFAI’s spokesperson could not confirm that outcome.)\u003c/p>\n\u003cfigure id=\"attachment_13916524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/LostMural_1200.jpg\" alt=\"Two figures with their backs to camera point at wall with some revealed painting portions\" width=\"1200\" height=\"924\" class=\"size-full wp-image-13916524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Former SFAI presient Gordon Knox (left) and conservator Molly Lambert (right) show the partially revealed work of ‘Marble Workers’ (1935) by Frederick Olmsted, Jr. at SFAI in 2019. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fate of the archives\u003c/h2>\n\u003cp>“This has not been determined” was, in fact, a repeated answer to my questions on a number of topics. Those included: Will the campus reopen for visitors to admire the architecture and Diego Rivera fresco? What will become of the other “\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/long-lost-new-deal-era-fresco-at-sf-art-institute-to-be-brought-to-light\" rel=\"noopener noreferrer\" target=\"_blank\">lost murals\u003c/a>” on campus, all in various states of conservation? Who will run the foundation overseeing SFAI’s legacy? If the school is unable to maintain its lease on the Chestnut Street campus, where will SFAI’s archives move?\u003c/p>\n\u003cp>[aside postID='arts_13889433']The archives are of particular concern, and not just because they hold the tangible history of the school and the art movements it spawned. Earlier this year, the National Endowment for the Humanities awarded SFAI a $234,820 grant to rehouse the institution’s 544 linear feet of archival material. That project includes digitizing 23 hours of “at-risk audiovisual materials,” to be made available via the Internet Archive.\u003c/p>\n\u003cp>But now even this very necessary undertaking is an unknown. “In the coming weeks,” the SFAI spokesperson explained, “SFAI will work with the National Endowment for the Humanities to determine if and how SFAI can utilize their grant to support SFAI’s Archives.”\u003c/p>\n\u003cp>The one definitive answer I received about SFAI’s future came on the subject of the courtyard fountain’s two residents: “SFAI security has been and will continue to feed the turtles.”\u003c/p>\n\u003cfigure id=\"attachment_13878515\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg\" alt=\"\" width=\"1200\" height=\"1329\" class=\"size-full wp-image-13878515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-800x886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-768x851.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-1020x1130.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘The Making fo a Fresco Showing the Building of a City,’ 1931. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diego Rivera stays, SFAI fades\u003c/h2>\n\u003cp>While Students For Action refuse to throw in the towel, the obituaries for SFAI proliferate. I think for many—especially those who have been personally affected by the school’s ups and (mostly) downs—hearing something conclusive about SFAI’s fate is a relief. \u003c/p>\n\u003cp>[aside postID='arts_13878509']If SFAI cannot afford to pay for rent, utilities and security on their campuses, they will lose their leases. And while SFAI still owns the Diego Rivera fresco, the University of California now owns the Chestnut Street building. A loss of their lease is also a loss of the Diego Rivera, their most valuable asset. \u003c/p>\n\u003cp>What will also be lost—as I have said \u003ca href=\"https://www.kqed.org/arts/13878509/the-san-francisco-art-institute-will-never-be-what-it-once-was\" rel=\"noopener noreferrer\" target=\"_blank\">many times before\u003c/a>—is the energizing spirit of the SFAI community as it spilled beyond campus and into conversation with the issues, people and institutions of the Bay Area. It’s a legacy that can be gleaned from archives and stories, but in the years to come, as the school remains closed and its faculty scatter to the wind, that influence will slowly fade from the local art scene.\u003c/p>\n\u003cp>In their fight for the school’s future, Dey, Gundlach and Lago have become a metaphor for this spirit. “Once upon a time, each one of us was applying to this giant of an arts institution to become better artists,” Dey says. But going through this upheaval in the company of other SFAI students, alums, faculty and staff has turned them into activists, administrators and organizers. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what SFAI does,” Lago says, even when there’s so little of SFAI left to point to. “It teaches you the value of community.”\u003c/p>\n\n","blocks":[],"excerpt":"Students For Action aims to raise $25 million to avoid bankruptcy and restructure the 151-year-old art school.","status":"publish","parent":0,"modified":1705006579,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1484},"headData":{"title":"Even As SFAI Closes, Students Rally to Save It | KQED","description":"Students For Action aims to raise $25 million to avoid bankruptcy and restructure the 151-year-old art school.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Even As SFAI Closes, Students Rally to Save It","datePublished":"2022-07-22T15:35:38.000Z","dateModified":"2024-01-11T20:56:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"even-as-sfai-closes-students-rally-to-save-it","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13916517/sfai-closed-students-for-action-usf-aquisition","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The morning of July 15, five BFA students stood in the San Francisco Art Institute’s Diego Rivera Gallery, talking about their work. They’d received their diplomas three days earlier in a small, bittersweet ceremony on the Chestnut Street campus’ brutalist rooftop. Now they were fielding critiques and questions from a group of three arts professionals, myself included.\u003c/p>\n\u003cp>Besides the gloomy superlative of comprising the entirety of the “last BFA class” in SFAI’s storied 151-year history, these five students are like so many of the SFAI students I’ve met over the years: dedicated artists, excited to move forward in their practices, and in possession of a healthy disdain for all things conventional and institutional. \u003c/p>\n\u003cp>Over the past two years, SFAI students, staff and faculty have experienced a pandemic, a closed campus, remote art instruction, transfers, layoffs, and foreclosure proceedings. Finally, as \u003ca href=\"https://sfai.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> during that BFA show critique, they witnessed the official end of SFAI’s academic programs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908825","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A hoped-for “\u003ca href=\"https://www.kqed.org/arts/13908825/sfai-usf-merger-sale\" rel=\"noopener noreferrer\" target=\"_blank\">merger\u003c/a>” with the University of San Francisco, first reported in early February, had fallen through. All staff and faculty were terminated. The Board of Trustees planned to form a nonprofit foundation to protect the school’s history and archives. The students who were able to finish their degrees in an accelerated summer program took down their shows and packed up their art, the school’s doors closing behind them. \u003c/p>\n\u003cp>Yet even at this juncture, while SFAI is describing itself in funereal terms, a small group of students is working with the Board of Trustees to save the institution. \u003ca href=\"https://sfanow.wixsite.com/my-site-1\" rel=\"noopener noreferrer\" target=\"_blank\">Students For Action\u003c/a>, led by a core trio of Grey Dey, Kristin Gundlach and Bianca Lago, hopes to raise $25 million before Aug. 15, an amount they believe will create a three-year pathway for the school. Ultimately, the goal is to stave off bankruptcy, hibernate until fall 2023, restructure, and reopen as an accredited degree-granting institution.\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>This type of hope is the story of SFAI, over and over again. Even when circumstances appear dire, those who believe in the school’s mission—and stand to be most derailed by its closure—step up for yet another last-ditch effort. After the news of July 15, while mournful alums posted on social media, Dey, Gunlach and Lago sent emails and scheduled fundraising meetings. \u003c/p>\n\u003cp>“SF without SFAI is just unimaginable,” Dey says.\u003c/p>\n\u003cfigure id=\"attachment_13841230\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Courtyard.jpg\" alt=\"Crowds in the North Beach campus' courtyard during SFAI's 2016 commencement celebrations.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13841230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Crowds in the North Beach campus’ courtyard during SFAI’s 2016 commencement celebrations. \u003ccite>(Claudine Gosset)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The hope, of course, is that some miracle happens’\u003c/h2>\n\u003cp>Students for Action formed in the wake of a meeting in early May, when it became clear that the acquisition negotiations between USF and SFAI were not going as planned. “We realized that the board had their hands tied and there was a very small number of people that were able to really help,” Lago says. “We felt that there were alternative routes that we could take.”\u003c/p>\n\u003cp>What Lago’s referring to is the January letter of intent that required SFAI to negotiate with USF exclusively until June 30. “They were technically allowed to fundraise,” Gundlach says, “but part of the LOI required them to do their best to make sure that the negotiations would go through and that USF and SFAI would both benefit.” The students, however, were not bound by this agreement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892120","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Many ad hoc groups have formed around SFAI over the past two years, after the school first announced plans to halt enrollment and transfer its remaining students elsewhere. Those include the remarkable grassroots undertaking of the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" rel=\"noopener noreferrer\" target=\"_blank\">Reimagine Committee\u003c/a> and a brief flirtation with a class-action lawsuit, but Students for Action says they’re taking an altogether different approach. \u003c/p>\n\u003cp>While all three have plenty of reasons to feel misled by SFAI leadership (Gundlach and Lago are halfway through their two-year MFA degrees, and Dey was set to receive a BFA in spring 2023), they are now working in conjunction with the Board of Trustees.\u003c/p>\n\u003cp>“What’s really different this time is the emphasis on collaborative pathways and how we’re looking to restructure the school not only administratively, but also as a center of the arts in San Francisco,” Dey says. They’re open to working with tech companies, government entities and other nonprofits. The nonprofit Bridge Span has committed to helping restructure the school if they can secure the funding to continue. And while $25 million is the goal, Students for Action is mindful that’s a big number. \u003c/p>\n\u003cp>“The hope, of course, is that some miracle happens and we have the $25 million and we can work with that in our hands and reshape everything,” Gundlach says. If that’s not achievable, directing any and all funds towards the preservation of the school’s archives is their top priority. \u003c/p>\n\u003cp>The group is working towards an Aug. 15 deadline with the understanding that the school will be forced to to declare bankruptcy on this date. (When questioned on this detail, SFAI’s spokesperson could not confirm that outcome.)\u003c/p>\n\u003cfigure id=\"attachment_13916524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/LostMural_1200.jpg\" alt=\"Two figures with their backs to camera point at wall with some revealed painting portions\" width=\"1200\" height=\"924\" class=\"size-full wp-image-13916524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Former SFAI presient Gordon Knox (left) and conservator Molly Lambert (right) show the partially revealed work of ‘Marble Workers’ (1935) by Frederick Olmsted, Jr. at SFAI in 2019. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fate of the archives\u003c/h2>\n\u003cp>“This has not been determined” was, in fact, a repeated answer to my questions on a number of topics. Those included: Will the campus reopen for visitors to admire the architecture and Diego Rivera fresco? What will become of the other “\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/long-lost-new-deal-era-fresco-at-sf-art-institute-to-be-brought-to-light\" rel=\"noopener noreferrer\" target=\"_blank\">lost murals\u003c/a>” on campus, all in various states of conservation? Who will run the foundation overseeing SFAI’s legacy? If the school is unable to maintain its lease on the Chestnut Street campus, where will SFAI’s archives move?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889433","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The archives are of particular concern, and not just because they hold the tangible history of the school and the art movements it spawned. Earlier this year, the National Endowment for the Humanities awarded SFAI a $234,820 grant to rehouse the institution’s 544 linear feet of archival material. That project includes digitizing 23 hours of “at-risk audiovisual materials,” to be made available via the Internet Archive.\u003c/p>\n\u003cp>But now even this very necessary undertaking is an unknown. “In the coming weeks,” the SFAI spokesperson explained, “SFAI will work with the National Endowment for the Humanities to determine if and how SFAI can utilize their grant to support SFAI’s Archives.”\u003c/p>\n\u003cp>The one definitive answer I received about SFAI’s future came on the subject of the courtyard fountain’s two residents: “SFAI security has been and will continue to feed the turtles.”\u003c/p>\n\u003cfigure id=\"attachment_13878515\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg\" alt=\"\" width=\"1200\" height=\"1329\" class=\"size-full wp-image-13878515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-800x886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-768x851.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-1020x1130.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘The Making fo a Fresco Showing the Building of a City,’ 1931. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diego Rivera stays, SFAI fades\u003c/h2>\n\u003cp>While Students For Action refuse to throw in the towel, the obituaries for SFAI proliferate. I think for many—especially those who have been personally affected by the school’s ups and (mostly) downs—hearing something conclusive about SFAI’s fate is a relief. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13878509","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If SFAI cannot afford to pay for rent, utilities and security on their campuses, they will lose their leases. And while SFAI still owns the Diego Rivera fresco, the University of California now owns the Chestnut Street building. A loss of their lease is also a loss of the Diego Rivera, their most valuable asset. \u003c/p>\n\u003cp>What will also be lost—as I have said \u003ca href=\"https://www.kqed.org/arts/13878509/the-san-francisco-art-institute-will-never-be-what-it-once-was\" rel=\"noopener noreferrer\" target=\"_blank\">many times before\u003c/a>—is the energizing spirit of the SFAI community as it spilled beyond campus and into conversation with the issues, people and institutions of the Bay Area. It’s a legacy that can be gleaned from archives and stories, but in the years to come, as the school remains closed and its faculty scatter to the wind, that influence will slowly fade from the local art scene.\u003c/p>\n\u003cp>In their fight for the school’s future, Dey, Gundlach and Lago have become a metaphor for this spirit. “Once upon a time, each one of us was applying to this giant of an arts institution to become better artists,” Dey says. But going through this upheaval in the company of other SFAI students, alums, faculty and staff has turned them into activists, administrators and organizers. \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>“That’s what SFAI does,” Lago says, even when there’s so little of SFAI left to point to. “It teaches you the value of community.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13916517/sfai-closed-students-for-action-usf-aquisition","authors":["61"],"categories":["arts_1"],"tags":["arts_2647","arts_10342","arts_10278","arts_10431","arts_3992"],"featImg":"arts_13916525","label":"arts"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","datePublished":"2022-06-01T18:12:58.000Z","dateModified":"2024-01-11T20:59:36.000Z","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/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\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>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13908652":{"type":"posts","id":"arts_13908652","meta":{"index":"posts_1591205157","site":"arts","id":"13908652","score":null,"sort":[1643367646000]},"guestAuthors":[],"slug":"tracing-frida-and-diegos-footsteps-in-the-bay","title":"Tracing Frida and Diego's Footsteps in the Bay","publishDate":1643367646,"format":"standard","headTitle":"Tracing Frida and Diego’s Footsteps in the Bay | KQED","labelTerm":{},"content":"\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9877244473\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>You don’t have to look very long to find tributes to Frida Kahlo in San Francisco. Frida inspired murals cover walls throughout the \u003ca href=\"https://www.foundsf.org/index.php?title=Frida_Kahlo_Rediscovered_in_San_Francisco\">Mission\u003c/a>, street vendors near the Embarcadero sell clothes and earrings with her likeness, and there’s a \u003ca href=\"https://www.google.com/search?client=safari&rls=en&q=frida+kahalo+way&ie=UTF-8&oe=UTF-8\">street named after her\u003c/a> in the Ingleside neighborhood. This devotion to Frida makes perfect sense because Frida Kahlo and Diego Rivera lived in San Francisco, not once, but twice.\u003c/p>\n\u003cp>During their last stay in 1940, Diego Rivera painted a 74-foot long, 30-ton fresco in front of a live audience at the the \u003ca href=\"https://www.foundsf.org/index.php?title=Treasure_Island_Fair:_Golden_Gate_International_Exposition\">Golden Gate International Exposition\u003c/a> on Treasure Island. Made up of ten panels, \u003cem>The Marriage of the Artistic Expression of the North and of the South on this Content – \u003c/em>commonly known as the \u003ca href=\"https://riveramural.org/fullmural/\">\u003cem>Pan American Unity\u003c/em>\u003c/a> mural – is rich with details depicting Ancient Mexico, the California Gold Rush, historical figures from Latin America and the United States, with a backdrop of a bustling 1940s San Francisco.\u003c/p>\n\u003cp>After a painstaking move from its original home at the City College of San Francisco, it’s now on display \u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">in the lobby of SFMOMA, viewable at no charge\u003c/a>.\u003c/p>\n\u003cp>To learn more about the Pan American Unity mural’s backstory and the controversy it sparked, we figured it’d be a good time to revisit a story that first ran on KQED’s \u003ca href=\"https://www.google.com/search?q=bay+curious+kqed&oq=bay+curious+kqe&aqs=chrome.0.0i512j69i57j0i22i30l2j69i60l2.6312j0j7&sourceid=chrome&ie=UTF-8\">Bay Curious\u003c/a> podcast. The episode also dives into Frida’s artistic development and how a Santa Rosa horticulturalist influenced her art.\u003c/p>\n\u003cp>I suggest listening to this episode on a long walk in North Beach or Chinatown, neighborhoods the artist couple spent a lot of time. It’s wild to think that we can walk the same streets as these two legendary painters!\u003c/p>\n\u003cp>To read more and see additional archival photos of Frida and Diego’s life in San Francisco check out the the Bay Curious article \u003ca href=\"https://www.kqed.org/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco\">here\u003c/a>.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"San Francisco gave Frida and Diego a platform to create and thrive in the 1930s and 1940s but the couple also gave the region a lasting blueprint for creativity.","status":"publish","parent":0,"modified":1705007271,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":374},"headData":{"title":"Tracing Frida and Diego's Footsteps in the Bay | KQED","description":"San Francisco gave Frida and Diego a platform to create and thrive in the 1930s and 1940s but the couple also gave the region a lasting blueprint for creativity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tracing Frida and Diego's Footsteps in the Bay","datePublished":"2022-01-28T11:00:46.000Z","dateModified":"2024-01-11T21:07:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC9877244473.mp3?updated=1643329153","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13908652/tracing-frida-and-diegos-footsteps-in-the-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9877244473\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>You don’t have to look very long to find tributes to Frida Kahlo in San Francisco. Frida inspired murals cover walls throughout the \u003ca href=\"https://www.foundsf.org/index.php?title=Frida_Kahlo_Rediscovered_in_San_Francisco\">Mission\u003c/a>, street vendors near the Embarcadero sell clothes and earrings with her likeness, and there’s a \u003ca href=\"https://www.google.com/search?client=safari&rls=en&q=frida+kahalo+way&ie=UTF-8&oe=UTF-8\">street named after her\u003c/a> in the Ingleside neighborhood. This devotion to Frida makes perfect sense because Frida Kahlo and Diego Rivera lived in San Francisco, not once, but twice.\u003c/p>\n\u003cp>During their last stay in 1940, Diego Rivera painted a 74-foot long, 30-ton fresco in front of a live audience at the the \u003ca href=\"https://www.foundsf.org/index.php?title=Treasure_Island_Fair:_Golden_Gate_International_Exposition\">Golden Gate International Exposition\u003c/a> on Treasure Island. Made up of ten panels, \u003cem>The Marriage of the Artistic Expression of the North and of the South on this Content – \u003c/em>commonly known as the \u003ca href=\"https://riveramural.org/fullmural/\">\u003cem>Pan American Unity\u003c/em>\u003c/a> mural – is rich with details depicting Ancient Mexico, the California Gold Rush, historical figures from Latin America and the United States, with a backdrop of a bustling 1940s San Francisco.\u003c/p>\n\u003cp>After a painstaking move from its original home at the City College of San Francisco, it’s now on display \u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\">in the lobby of SFMOMA, viewable at no charge\u003c/a>.\u003c/p>\n\u003cp>To learn more about the Pan American Unity mural’s backstory and the controversy it sparked, we figured it’d be a good time to revisit a story that first ran on KQED’s \u003ca href=\"https://www.google.com/search?q=bay+curious+kqed&oq=bay+curious+kqe&aqs=chrome.0.0i512j69i57j0i22i30l2j69i60l2.6312j0j7&sourceid=chrome&ie=UTF-8\">Bay Curious\u003c/a> podcast. The episode also dives into Frida’s artistic development and how a Santa Rosa horticulturalist influenced her art.\u003c/p>\n\u003cp>I suggest listening to this episode on a long walk in North Beach or Chinatown, neighborhoods the artist couple spent a lot of time. It’s wild to think that we can walk the same streets as these two legendary painters!\u003c/p>\n\u003cp>To read more and see additional archival photos of Frida and Diego’s life in San Francisco check out the the Bay Curious article \u003ca href=\"https://www.kqed.org/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco\">here\u003c/a>.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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/13908652/tracing-frida-and-diegos-footsteps-in-the-bay","authors":["11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_2647","arts_1118","arts_4083","arts_8722","arts_1737","arts_6764","arts_1381"],"featImg":"arts_13908654","label":"source_arts_13908652"},"arts_13907035":{"type":"posts","id":"arts_13907035","meta":{"index":"posts_1591205157","site":"arts","id":"13907035","score":null,"sort":[1639011598000]},"guestAuthors":[],"slug":"best-visual-art-2021-galleries-museums-sf-bay-area","title":"The Best Art I Saw in 2021","publishDate":1639011598,"format":"standard","headTitle":"The Best Art I Saw in 2021 | KQED","labelTerm":{},"content":"\u003cp>I didn’t write one of these last year. There \u003ci>was\u003c/i> art, and I had some great viewing experiences—\u003ca href=\"https://www.kqed.org/arts/13886602/im-not-the-only-one-review-fraenkel-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">often alone\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\" target=\"_blank\" rel=\"noopener noreferrer\">overly emotional\u003c/a>, relishing \u003ca href=\"https://www.kqed.org/arts/13884350/ratio-3-arthur-sam-moyer-eddie-martinez\" target=\"_blank\" rel=\"noopener noreferrer\">texture and color\u003c/a>. But the local visual art scene was largely shuttered, especially our largest institutions. In the end, I wrote more stories about layoffs, furloughs and closures in 2020 than I did about artists presenting new work.\u003c/p>\n\u003cp>Thankfully, that hasn’t been the case this year. In fact, there was too much going on for me to write about all the beautiful, challenging, exciting stuff I saw in 2021. So without further ado, may I present: the best art I saw in 2021* but didn’t write about at the time.\u003c/p>\n\u003cfigure id=\"attachment_13907056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg\" alt=\"A row of multicolored gallon jugs in a row against a white wall.\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza’s 1-gallon containers of various liquid products, alternately titled ‘The Heat Death of the Universe and Other Stories,’ 2007; ‘Un’opera intrisa dei luridi colori dell’arcobaleno di un mondo inquinato (A work imbued with the lurid rainbow colors of a polluted world),’ 2019; and ‘$1000 Worth of One Gallon Containers of Various Products,’ 2019. \u003ccite>(Courtesy the artist and Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>*The 2020 Show I’m Still Thinking About\u003c/h2>\n\u003cp>\u003cb>Anthony Discenza, \u003ca href=\"https://etaletc.com/anthony-discenza-no-3-variations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>No 3: Variations\u003c/i>\u003c/a>\u003c/b>\u003cbr>\nWay back in January 2020, I had no idea Anthony Discenza’s show was giving me a glimpse of my future. In Et al.’s Mission Street space, the artist accumulated a prepper-level supply of cleaning products, plugged the sockets with ultrasonic pest control devices and mounted a countdown clock measuring the exhibition’s duration high on the wall. The show tapped into a paranoid energy I was just about to fully inhabit—and the three “variations” of the show (manifesting in three different exhibition statements and three different artwork lists) came to represent the vastly different realities individuals faced during the height of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907054\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg\" alt=\"A painting of a blurry photograph under a plexi vitrine.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Biernoff, ‘Rose,’ 2019; acrylic on plywood, painted both sides; painted poplar stand. \u003ccite>(© Elisheva Biernoff; Courtesy Fraenkel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Art That Made Me Say ‘Wow!’ the Most\u003c/h2>\n\u003cp>\u003cb>Elisheva Biernoff, \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/elisheva-biernoff-starting-from-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Starting from Wrong\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nIt was very necessary for the works in this Fraenkel Gallery show to be under vitrines. I needed to be protected from my own impulse to get as close as possible to the surface of Elisheva Biernoff’s acrylic on plywood, double-sided paintings. Based on found photographs and rendered at the same scale, Biernoff’s paintings realistically capture all the ways that cameras can fail to capture reality; in her hands, fading, blurry focus, sun-flares and color shifts no longer “ruin” a picture but make it ethereal.\u003c/p>\n\u003cfigure id=\"attachment_13907057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/holding_layout_15_1200.jpg\" alt=\"Sculpture on wood pedestals, a hanging text piece, a black and white drawing and a large blue and black painting.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz in ‘Holding’ at pt.2. \u003ccite>(Courtesy the artists and pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Group Show I Almost Missed\u003c/h2>\n\u003cp>\u003cb>Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz, \u003ci>\u003ca href=\"https://www.part2gallery.com/holdingpublic\" target=\"_blank\" rel=\"noopener noreferrer\">Holding\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOakland’s pt.2 gallery consistently impresses, and has mounted some of the most exciting shows of local artists the Bay Area’s seen in recent years. My one complaint is that the gallery’s exhibition schedule moves too quickly, and that magnificent shows like \u003ci>Holding\u003c/i>, which was up for only three weeks, deserve to be seen by more eyes. The grouping combined Lena Gustafsonʼs optically intense paintings on canvas and paper, Maria Pazʼs ceramics and charcoal drawings, and Lukaza Branfman-Verissimoʼs delicate mylar assemblages in a show that felt like it was made not by three people, but more of a hive mind—in the best possible way.\u003c/p>\n\u003cfigure id=\"attachment_13907051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Wangechi Mutu: I Am Speaking, Are You Listening?,’ Legion of Honor, San Francisco, 2021. © Wangechi Mutu. \u003ccite>(Photo by Gary Sexton; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Intervention into a European Art Collection\u003c/h2>\n\u003cp>\u003cb>Wangechi Mutu, \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/wangechi-mutu\" target=\"_blank\" rel=\"noopener noreferrer\">I Am Speaking, Are You Listening?\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOne of the best moments in the Wangechi Mutu exhibition at the Legion of Honor was the one everyone could see sans ticket. In the museum’s blindingly white stone courtyard, where Rodin’s \u003ci>Thinker\u003c/i> sits, the artist placed two bronze figures laying limp under bronze mats. In \u003ci>The Thinker\u003c/i>’s shadow, \u003ci>Shavasana I\u003c/i> and \u003ci>Shavasana II\u003c/i> were people resting, exhausted after a long yoga session. But they were also something else: representations of the violence perpetuated against women of color in the name of progress, colonialism and Western thought.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CMCsMhEBQDW/?utm_source=ig_web_copy_link\u003c/p>\n\u003ch2>Best Street Art\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jang’s Wheatpastes\u003c/a>\u003c/b>\u003cbr>\nAmid the hullabaloo of \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">controversy surrounding fnnch\u003c/a> this year, I was delighted to see other work of the non-honey-bear variety proliferating across San Francisco, namely the wheatpasted photographs and delightful remixes by Michael Jang. Drawing from his deep archive of images (of his family in the 1970s, of celebrities and musicians, of aspiring weather reporters), Jang’s work started appearing on boarded-up storefronts, on sandbag-reinforced signs along the Great Highway, on the corner store down the block from my house—often with a #stopasianhate label nearby. Watching them accumulate and disintegrate, and spotting pieces in new locations has become a favorite pastime of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13907055\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mathematics_06_1200.jpg\" alt=\"Brightly colored math-related objects for children.\" width=\"1200\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-768x566.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An Arithmetic Foundation book and Arithmetic quiz (c. 1940s); a Mickey Math and Toy adding machine (c. 1960s); and\u003cbr>a Little Professor (1976). \u003ccite>(Courtesy of Mickey McGowan, the Computer History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Show I Saw While Stressed Out and In Transit\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.sfomuseum.org/exhibitions/mathematics-vintage-and-modern\" target=\"_blank\" rel=\"noopener noreferrer\">Mathematics: Vintage and Modern\u003c/a>\u003c/b>\u003c/i>\u003cbr>\nIt’s no secret that SFO has some of the best darn exhibitions in the Bay Area. Always surprising, thoughtfully curated and beautifully presented, the airport museum held my attention during a particularly fraught travel time. For the 20 or so minutes that I spent taking in this display of elegant computational mechanisms, vintage toys and sculptural objects rooted in modern math, I completely forgot about the internal calculations I was doing to justify a flight during a pandemic. (This show was also a runner-up for “wows” uttered. Please look into “\u003ca href=\"https://www.kleinbottle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Klein bottles\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13907060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg\" alt=\"\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Matt Borruso for ‘Urs’ at TamShack.\u003c/figcaption>\u003c/figure>\n\u003ch2>Best New Art Space That Didn’t Stress Me Out\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.1599fdt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TamShack\u003c/a>\u003c/b>\u003cbr>\nIn August, over one weekend, Facundo Argañaraz organized a lovely exhibition of work by Will Rogan and Lauren McKeon outside his home in Mill Valley. For many who attended, it was the first time they’d seen art in person since the beginning of the pandemic—or seen persons, for that matter. Argañaraz has since put together two other two-person shows, arranged around a small patio, a back porch and a sloping hillside. Each time, I’ve felt the simple but great joy of being able to linger, talk and approach art in a nontraditional setting, without the sometimes claustrophobic surroundings of white gallery walls.\u003c/p>\n\u003cp>https://youtu.be/aeZC7Zs9mRY\u003c/p>\n\u003ch2>Best Show as Gift Shop\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/abt\" target=\"_blank\" rel=\"noopener noreferrer\">ABT: A Limited Hour 24-Hour Funny Business\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nA project of Asian Brain Trust (Amy Fung, Divya Mehra and Wattis curator Kim Nguyen), this show at Cushion Works was ostensibly a shop of wares—all actually for sale—that met the moment of institutional handwringing over ongoing racial reckonings with hearty doses of sarcasm and skepticism. Objects marketed toward self-declared “allies” included a “Racism Runs Free Frisbee” (“aerodynamic and performs well under all conditions, just like your generic language!”); a “Diversity Tsar Mug” (“Supreme rulership never looked so cute!”); and a “My Authentic Self Sweatshirt” (“Maybe the problem isn’t us!”). Animated videos advertising the “deals deals deals!” looped endlessly, the aural equivalent of grinning and bearing it.\u003c/p>\n\u003cfigure id=\"attachment_13907059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg\" alt=\"Black and white ceramic sculptures sit on a sidewalk around a building corner.\" width=\"1200\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-768x430.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ebitenyefa Baralaye, still from ‘ContAxts (Tenderloin),’ 2017; single-channel HD video (with sound), 3:57 minutes. \u003ccite>(Courtesy of the artist and David Klein Gallery, Detroit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Look at Local Dealings With Dirt\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/origin-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Origin Stories: Expanded Ceramics in the Bay Area\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThis quiet group show at the Berkeley Art Center curated by Tanya Zimbardo gathered artists working with clay in relation to site. In approaches both delicate and forceful, the artists of \u003ci>Origin Stories\u003c/i> demonstrated the remarkably mutable qualities of clay, making clear it’s a material with not just deep historical connotations, but one that continues to offer new ways of approaching art—and its place in the world. A favorite among many: Erik Scollon’s crowd-sourced takeaway \u003ci>CERAMIC TRUISMS (after Holzer)\u003c/i>, which included the statement “Avoid putting people or pottery on pedestals.”\u003c/p>\n\u003cfigure id=\"attachment_13907071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg\" alt=\"Two scissor lifts and workers flank two vibrant panels of fresco painting.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A large upper panel and a small lower panel of Diego Rivera’s ‘Pan American Unity’ await installation in the Roberts Family Gallery at SFMOMA. \u003ccite>(Katherine Du Tiel/SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Greatest Feat of Art Handling\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Diego Rivera, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\" target=\"_blank\" rel=\"noopener noreferrer\">Pan American Unity\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThe Mexican artist’s monumental fresco, made in front of a live audience during the 1940 Golden Gate International Exposition on Treasure Island, has been on display at City College since 1961. And this summer, it moved—in pieces—from the school’s theater lobby to SFMOMA. It was a feat of engineering and art handling, one that required years of planning, creating near-exact replicas of two panels to test the fresco’s resilience and wee-hours transportation trips across town. Even without this backstory, the artwork awes, but nothing comes into being out of thin air, and \u003ci>Pan American Unity\u003c/i>, moved with the help of a pan-American team, is a great reminder of this fact.\u003c/p>\n\n","blocks":[],"excerpt":"A look back on a small fraction of the beautiful, challenging and exciting visual art of the past year.","status":"publish","parent":0,"modified":1705007409,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1620},"headData":{"title":"The Best Art I Saw in 2021 | KQED","description":"A look back on a small fraction of the beautiful, challenging and exciting visual art of the past year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Art I Saw in 2021","datePublished":"2021-12-09T00:59:58.000Z","dateModified":"2024-01-11T21:10:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2021 recapped","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907035/best-visual-art-2021-galleries-museums-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I didn’t write one of these last year. There \u003ci>was\u003c/i> art, and I had some great viewing experiences—\u003ca href=\"https://www.kqed.org/arts/13886602/im-not-the-only-one-review-fraenkel-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">often alone\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13886069/future-artifacts-gaze-back-in-erica-deemans-familiar-stranger\" target=\"_blank\" rel=\"noopener noreferrer\">overly emotional\u003c/a>, relishing \u003ca href=\"https://www.kqed.org/arts/13884350/ratio-3-arthur-sam-moyer-eddie-martinez\" target=\"_blank\" rel=\"noopener noreferrer\">texture and color\u003c/a>. But the local visual art scene was largely shuttered, especially our largest institutions. In the end, I wrote more stories about layoffs, furloughs and closures in 2020 than I did about artists presenting new work.\u003c/p>\n\u003cp>Thankfully, that hasn’t been the case this year. In fact, there was too much going on for me to write about all the beautiful, challenging, exciting stuff I saw in 2021. So without further ado, may I present: the best art I saw in 2021* but didn’t write about at the time.\u003c/p>\n\u003cfigure id=\"attachment_13907056\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg\" alt=\"A row of multicolored gallon jugs in a row against a white wall.\" width=\"1200\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/AnthonyDiscenza_Etal_1200-768x490.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza’s 1-gallon containers of various liquid products, alternately titled ‘The Heat Death of the Universe and Other Stories,’ 2007; ‘Un’opera intrisa dei luridi colori dell’arcobaleno di un mondo inquinato (A work imbued with the lurid rainbow colors of a polluted world),’ 2019; and ‘$1000 Worth of One Gallon Containers of Various Products,’ 2019. \u003ccite>(Courtesy the artist and Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>*The 2020 Show I’m Still Thinking About\u003c/h2>\n\u003cp>\u003cb>Anthony Discenza, \u003ca href=\"https://etaletc.com/anthony-discenza-no-3-variations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>No 3: Variations\u003c/i>\u003c/a>\u003c/b>\u003cbr>\nWay back in January 2020, I had no idea Anthony Discenza’s show was giving me a glimpse of my future. In Et al.’s Mission Street space, the artist accumulated a prepper-level supply of cleaning products, plugged the sockets with ultrasonic pest control devices and mounted a countdown clock measuring the exhibition’s duration high on the wall. The show tapped into a paranoid energy I was just about to fully inhabit—and the three “variations” of the show (manifesting in three different exhibition statements and three different artwork lists) came to represent the vastly different realities individuals faced during the height of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907054\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg\" alt=\"A painting of a blurry photograph under a plexi vitrine.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Biernoff-Starting-from-Wrong-Install-View-16_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Biernoff, ‘Rose,’ 2019; acrylic on plywood, painted both sides; painted poplar stand. \u003ccite>(© Elisheva Biernoff; Courtesy Fraenkel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Art That Made Me Say ‘Wow!’ the Most\u003c/h2>\n\u003cp>\u003cb>Elisheva Biernoff, \u003ci>\u003ca href=\"https://fraenkelgallery.com/exhibitions/elisheva-biernoff-starting-from-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Starting from Wrong\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nIt was very necessary for the works in this Fraenkel Gallery show to be under vitrines. I needed to be protected from my own impulse to get as close as possible to the surface of Elisheva Biernoff’s acrylic on plywood, double-sided paintings. Based on found photographs and rendered at the same scale, Biernoff’s paintings realistically capture all the ways that cameras can fail to capture reality; in her hands, fading, blurry focus, sun-flares and color shifts no longer “ruin” a picture but make it ethereal.\u003c/p>\n\u003cfigure id=\"attachment_13907057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/holding_layout_15_1200.jpg\" alt=\"Sculpture on wood pedestals, a hanging text piece, a black and white drawing and a large blue and black painting.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/holding_layout_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz in ‘Holding’ at pt.2. \u003ccite>(Courtesy the artists and pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Group Show I Almost Missed\u003c/h2>\n\u003cp>\u003cb>Lena Gustafson, Lukaza Branfman-Verissimo and Maria Paz, \u003ci>\u003ca href=\"https://www.part2gallery.com/holdingpublic\" target=\"_blank\" rel=\"noopener noreferrer\">Holding\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOakland’s pt.2 gallery consistently impresses, and has mounted some of the most exciting shows of local artists the Bay Area’s seen in recent years. My one complaint is that the gallery’s exhibition schedule moves too quickly, and that magnificent shows like \u003ci>Holding\u003c/i>, which was up for only three weeks, deserve to be seen by more eyes. The grouping combined Lena Gustafsonʼs optically intense paintings on canvas and paper, Maria Pazʼs ceramics and charcoal drawings, and Lukaza Branfman-Verissimoʼs delicate mylar assemblages in a show that felt like it was made not by three people, but more of a hive mind—in the best possible way.\u003c/p>\n\u003cfigure id=\"attachment_13907051\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/26_Legion_WangechiMutu_GarySexton_4_29_21_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from ‘Wangechi Mutu: I Am Speaking, Are You Listening?,’ Legion of Honor, San Francisco, 2021. © Wangechi Mutu. \u003ccite>(Photo by Gary Sexton; Image courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Intervention into a European Art Collection\u003c/h2>\n\u003cp>\u003cb>Wangechi Mutu, \u003ci>\u003ca href=\"https://legionofhonor.famsf.org/exhibitions/wangechi-mutu\" target=\"_blank\" rel=\"noopener noreferrer\">I Am Speaking, Are You Listening?\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nOne of the best moments in the Wangechi Mutu exhibition at the Legion of Honor was the one everyone could see sans ticket. In the museum’s blindingly white stone courtyard, where Rodin’s \u003ci>Thinker\u003c/i> sits, the artist placed two bronze figures laying limp under bronze mats. In \u003ci>The Thinker\u003c/i>’s shadow, \u003ci>Shavasana I\u003c/i> and \u003ci>Shavasana II\u003c/i> were people resting, exhausted after a long yoga session. But they were also something else: representations of the violence perpetuated against women of color in the name of progress, colonialism and Western thought.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CMCsMhEBQDW"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Best Street Art\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.instagram.com/michaeljangsf/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jang’s Wheatpastes\u003c/a>\u003c/b>\u003cbr>\nAmid the hullabaloo of \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">controversy surrounding fnnch\u003c/a> this year, I was delighted to see other work of the non-honey-bear variety proliferating across San Francisco, namely the wheatpasted photographs and delightful remixes by Michael Jang. Drawing from his deep archive of images (of his family in the 1970s, of celebrities and musicians, of aspiring weather reporters), Jang’s work started appearing on boarded-up storefronts, on sandbag-reinforced signs along the Great Highway, on the corner store down the block from my house—often with a #stopasianhate label nearby. Watching them accumulate and disintegrate, and spotting pieces in new locations has become a favorite pastime of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13907055\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/mathematics_06_1200.jpg\" alt=\"Brightly colored math-related objects for children.\" width=\"1200\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/mathematics_06_1200-768x566.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An Arithmetic Foundation book and Arithmetic quiz (c. 1940s); a Mickey Math and Toy adding machine (c. 1960s); and\u003cbr>a Little Professor (1976). \u003ccite>(Courtesy of Mickey McGowan, the Computer History Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Show I Saw While Stressed Out and In Transit\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.sfomuseum.org/exhibitions/mathematics-vintage-and-modern\" target=\"_blank\" rel=\"noopener noreferrer\">Mathematics: Vintage and Modern\u003c/a>\u003c/b>\u003c/i>\u003cbr>\nIt’s no secret that SFO has some of the best darn exhibitions in the Bay Area. Always surprising, thoughtfully curated and beautifully presented, the airport museum held my attention during a particularly fraught travel time. For the 20 or so minutes that I spent taking in this display of elegant computational mechanisms, vintage toys and sculptural objects rooted in modern math, I completely forgot about the internal calculations I was doing to justify a flight during a pandemic. (This show was also a runner-up for “wows” uttered. Please look into “\u003ca href=\"https://www.kleinbottle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Klein bottles\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13907060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg\" alt=\"\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Borruso_D851615_4_1200-768x517.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of work by Matt Borruso for ‘Urs’ at TamShack.\u003c/figcaption>\u003c/figure>\n\u003ch2>Best New Art Space That Didn’t Stress Me Out\u003c/h2>\n\u003cp>\u003cb>\u003ca href=\"https://www.1599fdt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TamShack\u003c/a>\u003c/b>\u003cbr>\nIn August, over one weekend, Facundo Argañaraz organized a lovely exhibition of work by Will Rogan and Lauren McKeon outside his home in Mill Valley. For many who attended, it was the first time they’d seen art in person since the beginning of the pandemic—or seen persons, for that matter. Argañaraz has since put together two other two-person shows, arranged around a small patio, a back porch and a sloping hillside. Each time, I’ve felt the simple but great joy of being able to linger, talk and approach art in a nontraditional setting, without the sometimes claustrophobic surroundings of white gallery walls.\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/aeZC7Zs9mRY'\n title='//www.youtube.com/embed/aeZC7Zs9mRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Best Show as Gift Shop\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.cushionworks.info/exhibitions/abt\" target=\"_blank\" rel=\"noopener noreferrer\">ABT: A Limited Hour 24-Hour Funny Business\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nA project of Asian Brain Trust (Amy Fung, Divya Mehra and Wattis curator Kim Nguyen), this show at Cushion Works was ostensibly a shop of wares—all actually for sale—that met the moment of institutional handwringing over ongoing racial reckonings with hearty doses of sarcasm and skepticism. Objects marketed toward self-declared “allies” included a “Racism Runs Free Frisbee” (“aerodynamic and performs well under all conditions, just like your generic language!”); a “Diversity Tsar Mug” (“Supreme rulership never looked so cute!”); and a “My Authentic Self Sweatshirt” (“Maybe the problem isn’t us!”). Animated videos advertising the “deals deals deals!” looped endlessly, the aural equivalent of grinning and bearing it.\u003c/p>\n\u003cfigure id=\"attachment_13907059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg\" alt=\"Black and white ceramic sculptures sit on a sidewalk around a building corner.\" width=\"1200\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/EbitenyefaBaralaye_1200-768x430.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ebitenyefa Baralaye, still from ‘ContAxts (Tenderloin),’ 2017; single-channel HD video (with sound), 3:57 minutes. \u003ccite>(Courtesy of the artist and David Klein Gallery, Detroit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Look at Local Dealings With Dirt\u003c/h2>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.berkeleyartcenter.org/origin-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Origin Stories: Expanded Ceramics in the Bay Area\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThis quiet group show at the Berkeley Art Center curated by Tanya Zimbardo gathered artists working with clay in relation to site. In approaches both delicate and forceful, the artists of \u003ci>Origin Stories\u003c/i> demonstrated the remarkably mutable qualities of clay, making clear it’s a material with not just deep historical connotations, but one that continues to offer new ways of approaching art—and its place in the world. A favorite among many: Erik Scollon’s crowd-sourced takeaway \u003ci>CERAMIC TRUISMS (after Holzer)\u003c/i>, which included the statement “Avoid putting people or pottery on pedestals.”\u003c/p>\n\u003cfigure id=\"attachment_13907071\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg\" alt=\"Two scissor lifts and workers flank two vibrant panels of fresco painting.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13907071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/30-PAU.-INSTALLING-PANELS-AT-SFMOMA.KDT_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A large upper panel and a small lower panel of Diego Rivera’s ‘Pan American Unity’ await installation in the Roberts Family Gallery at SFMOMA. \u003ccite>(Katherine Du Tiel/SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Greatest Feat of Art Handling\u003c/h2>\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>\u003cb>Diego Rivera, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pan-american-unity/\" target=\"_blank\" rel=\"noopener noreferrer\">Pan American Unity\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nThe Mexican artist’s monumental fresco, made in front of a live audience during the 1940 Golden Gate International Exposition on Treasure Island, has been on display at City College since 1961. And this summer, it moved—in pieces—from the school’s theater lobby to SFMOMA. It was a feat of engineering and art handling, one that required years of planning, creating near-exact replicas of two panels to test the fresco’s resilience and wee-hours transportation trips across town. Even without this backstory, the artwork awes, but nothing comes into being out of thin air, and \u003ci>Pan American Unity\u003c/i>, moved with the help of a pan-American team, is a great reminder of this fact.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907035/best-visual-art-2021-galleries-museums-sf-bay-area","authors":["61"],"categories":["arts_1"],"tags":["arts_16311","arts_2647","arts_10342","arts_10278","arts_3740","arts_3649","arts_1956","arts_3648","arts_16266","arts_1381","arts_901"],"featImg":"arts_13907062","label":"source_arts_13907035"},"arts_13906250":{"type":"posts","id":"arts_13906250","meta":{"index":"posts_1591205157","site":"arts","id":"13906250","score":null,"sort":[1637178611000]},"guestAuthors":[],"slug":"frida-kahlo-just-shattered-an-auction-record-ousting-her-husband","title":"Frida Kahlo Just Shattered an Auction Record, Ousting Her Husband","publishDate":1637178611,"format":"standard","headTitle":"Frida Kahlo Just Shattered an Auction Record, Ousting Her Husband | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Frida Kahlo’s \u003cem>Diego y yo\u003c/em>, a painting of herself with her husband’s image on her forehead, sold for $34.9 million in a Sotheby’s auction Tuesday night. The art dealer described it as “the last of her great self-portraits.”\u003c/p>\n\u003cp>It’s the most money ever paid at auction for a work by a Latin American artist. The price is also more than triple the highest amount previously paid for a Kahlo work in an auction.\u003c/p>\n\u003cp>[aside postid='arts_13825649']It’s not the first time \u003cem>Diego y yo\u003c/em> has made history: when the painting sold for $1.4 million in 1990, Kahlo became the first Latin American artist to surpass the $1 million mark at auction.\u003c/p>\n\u003cp>Kahlo created the painting in 1949, 20 years after she first married the painter Diego Rivera. It marked a time when the Mexican artist was at the height of her abilities, and also when her health was declining: Kahlo had \u003ca href=\"https://www.fridakahlo.org/frida-kahlo-chronology.jsp\" target=\"_blank\" rel=\"noopener noreferrer\">numerous surgeries on her spine\u003c/a> in 1949, and she began a nine-month hospital stay. When she emerged, she often relied on a wheelchair.\u003c/p>\n\u003cp>In \u003cem>Diego y yo\u003c/em>, Kahlo depicts herself with three tears flowing from her eyes, with her husband superimposed above her famous eyebrows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She has such a powerful gaze. She just stares at you, and she just cuts through,” said Sotheby’s Anna Di Stasi, director of Latin American art. “And those three tears rolling down her check are just the most powerful tears I have ever seen in the history of art.”\u003c/p>\n\u003cp>By 1949, Kahlo and Rivera had reconciled many of their differences in the turbulent relationship, during which both of the artists engaged in multiple affairs. But the painting is widely seen as Kahlo’s expression of pain over Rivera’s affair with her friend, the actress María Félix—Rivera painted a portrait of a barely clothed Félix in that same year.\u003c/p>\n\u003cp>“This completely destroys her,” Di Stasi said of Kahlo’s predicament.\u003c/p>\n\u003cp>With a final sale price approaching $35 million, \u003cem>Diego y yo \u003c/em>obliterates the previous auction record for a Latin American piece of art that was set by Rivera’s painting \u003cem>The Rivals\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13904697']Kahlo’s husband painted \u003cem>The Rivals\u003c/em> a few years after they married; it fetched a \u003ca href=\"https://www.christies.com/en/lot/lot-6134519\" target=\"_blank\" rel=\"noopener noreferrer\">$9.8 million price\u003c/a> at a Christie’s auction in 2018.\u003c/p>\n\u003cp>“You could call tonight’s result the ultimate revenge, but in fact it is the ultimate validation of Kahlo’s extraordinary talent and global appeal,” Di Stasi said in a news release about the sale.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The record for the highest price ever paid at auction for a piece by a female artist is held by Georgia O’Keeffe’s \u003cem>Jimson Weed/White Flower No. 1\u003c/em>, which sold at Sotheby’s a few years ago for more than $44 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Frida+Kahlo+just+shattered+an+auction+record%2C+ousting+her+husband&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"'Diego y yo' fetched $34.9 million at Sotheby's—the most money ever paid at auction for a work by a Latin American artist.","status":"publish","parent":0,"modified":1705007476,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":511},"headData":{"title":"Frida Kahlo Just Shattered an Auction Record, Ousting Her Husband | KQED","description":"'Diego y yo' fetched $34.9 million at Sotheby's—the most money ever paid at auction for a work by a Latin American artist.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Frida Kahlo Just Shattered an Auction Record, Ousting Her Husband","datePublished":"2021-11-17T19:50:11.000Z","dateModified":"2024-01-11T21:11:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Tolga Akmen","nprByline":"Bill Chappell","nprImageAgency":"AFP via Getty Images","nprStoryId":"1056490859","nprApiLink":"http://api.npr.org/query?id=1056490859&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/11/17/1056490859/frida-kahlo-auction-diego-yo-rivera?ft=nprml&f=1056490859","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Nov 2021 11:17:00 -0500","nprStoryDate":"Wed, 17 Nov 2021 11:17:08 -0500","nprLastModifiedDate":"Wed, 17 Nov 2021 11:17:34 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906250/frida-kahlo-just-shattered-an-auction-record-ousting-her-husband","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Frida Kahlo’s \u003cem>Diego y yo\u003c/em>, a painting of herself with her husband’s image on her forehead, sold for $34.9 million in a Sotheby’s auction Tuesday night. The art dealer described it as “the last of her great self-portraits.”\u003c/p>\n\u003cp>It’s the most money ever paid at auction for a work by a Latin American artist. The price is also more than triple the highest amount previously paid for a Kahlo work in an auction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13825649","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s not the first time \u003cem>Diego y yo\u003c/em> has made history: when the painting sold for $1.4 million in 1990, Kahlo became the first Latin American artist to surpass the $1 million mark at auction.\u003c/p>\n\u003cp>Kahlo created the painting in 1949, 20 years after she first married the painter Diego Rivera. It marked a time when the Mexican artist was at the height of her abilities, and also when her health was declining: Kahlo had \u003ca href=\"https://www.fridakahlo.org/frida-kahlo-chronology.jsp\" target=\"_blank\" rel=\"noopener noreferrer\">numerous surgeries on her spine\u003c/a> in 1949, and she began a nine-month hospital stay. When she emerged, she often relied on a wheelchair.\u003c/p>\n\u003cp>In \u003cem>Diego y yo\u003c/em>, Kahlo depicts herself with three tears flowing from her eyes, with her husband superimposed above her famous eyebrows.\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>“She has such a powerful gaze. She just stares at you, and she just cuts through,” said Sotheby’s Anna Di Stasi, director of Latin American art. “And those three tears rolling down her check are just the most powerful tears I have ever seen in the history of art.”\u003c/p>\n\u003cp>By 1949, Kahlo and Rivera had reconciled many of their differences in the turbulent relationship, during which both of the artists engaged in multiple affairs. But the painting is widely seen as Kahlo’s expression of pain over Rivera’s affair with her friend, the actress María Félix—Rivera painted a portrait of a barely clothed Félix in that same year.\u003c/p>\n\u003cp>“This completely destroys her,” Di Stasi said of Kahlo’s predicament.\u003c/p>\n\u003cp>With a final sale price approaching $35 million, \u003cem>Diego y yo \u003c/em>obliterates the previous auction record for a Latin American piece of art that was set by Rivera’s painting \u003cem>The Rivals\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904697","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kahlo’s husband painted \u003cem>The Rivals\u003c/em> a few years after they married; it fetched a \u003ca href=\"https://www.christies.com/en/lot/lot-6134519\" target=\"_blank\" rel=\"noopener noreferrer\">$9.8 million price\u003c/a> at a Christie’s auction in 2018.\u003c/p>\n\u003cp>“You could call tonight’s result the ultimate revenge, but in fact it is the ultimate validation of Kahlo’s extraordinary talent and global appeal,” Di Stasi said in a news release about the sale.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The record for the highest price ever paid at auction for a piece by a female artist is held by Georgia O’Keeffe’s \u003cem>Jimson Weed/White Flower No. 1\u003c/em>, which sold at Sotheby’s a few years ago for more than $44 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Frida+Kahlo+just+shattered+an+auction+record%2C+ousting+her+husband&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906250/frida-kahlo-just-shattered-an-auction-record-ousting-her-husband","authors":["byline_arts_13906250"],"categories":["arts_1","arts_235"],"tags":["arts_2647","arts_4083","arts_16122"],"affiliates":["arts_137"],"featImg":"arts_13906251","label":"arts_137"},"arts_13893578":{"type":"posts","id":"arts_13893578","meta":{"index":"posts_1591205157","site":"arts","id":"13893578","score":null,"sort":[1615501472000]},"guestAuthors":[],"slug":"in-anniversary-show-alumni-address-sfais-complex-150-year-legacy","title":"In Anniversary Show, Alumni Address SFAI’s Complex 150-Year Legacy","publishDate":1615501472,"format":"standard","headTitle":"In Anniversary Show, Alumni Address SFAI’s Complex 150-Year Legacy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://sfai.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a> (SFAI) turns 150 years old this month, and as one might expect of an institution that’s managed to survive multiple earthquakes, socio-political upheavals, and economic bubbles and recessions, its legacy is complicated.\u003c/p>\n\u003cp>Just ask the alumni with work featured in SFAI’s upcoming 150th anniversary exhibition \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>A Spirit of Disruption\u003c/i>\u003c/a>:\u003c/p>\n\u003cp>“I have mixed emotions when I think about SFAI,” says ceramicist \u003ca href=\"https://cathyclu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Lu\u003c/a>, who earned her MFA from the school in 2010. “I want to hug the building. The faculty and students are great. But then there’s all that weird stuff that makes me want to look away.”\u003c/p>\n\u003cp>“It was a really special place for me,” says interdisciplinary artist \u003ca href=\"https://www.pabloguardiola.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pablo Guardiola\u003c/a> (MFA 2005). “But I have a lot of issues with the school.”\u003c/p>\n\u003cp>“It’s a little perplexing,” says transdisciplinary artist \u003ca href=\"https://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Green\u003c/a> (BFA 2009). “It feels warm to have gotten to be a part of that experience, but it was also very complicated, sometimes very difficult, to be in the environment of the school.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“SFAI was a whole new world. I was able to meet people from all over, exchange ideas and be part of very interesting conversations. My practice truly expanded during my time there,” says multimedia artist \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a> (MFA 2016). “But I hope it will treat its adjunct staff and student body with the respect and dignity they deserve.”\u003c/p>\n\u003cp>These former students’ bifurcated feelings about their alma mater are understandable.\u003c/p>\n\u003cfigure id=\"attachment_13893883\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg\" alt=\"\" width=\"1200\" height=\"1125\" class=\"size-full wp-image-13893883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-768x720.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Xylor Jane, ‘Via Crucis II Cross,’ 2010; Oil on panel. \u003ccite>(Collection of Penny Cooper and Rena Rosenwasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bifurcated Reputation\u003c/h2>\n\u003cp>On the one hand, there’s SFAI’s staggering global reputation and influence. SFAI was a hub for Abstract Expressionism, the Mission School, the Bay Area Figurative Movement and Funk Art. Its faculty included Ansel Adams, Dorothea Lange, Angela Davis and Richard Diebenkorn. Annie Leibovitz, Catherine Opie, Kehinde Wiley, Barry McGee and Rigo 23 all studied there. And the school has long been celebrated for its tight-knit sense of community and spirit of wild experimentation.\u003c/p>\n\u003cp>“SFAI holds a special place in the collective arts world,” says Taylor Dafoe, a reporter at \u003ca href=\"https://news.artnet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Artnet News\u003c/a> who has written extensively about art education in this country. “For a lot of people, it represents this kind of platonic ideal of what an art school is: a funky, hyper-liberal West Coast bastion of creativity, where pieces of performance art are being staged in the hallways, dorm rooms are turned into studios and things like that.”\u003c/p>\n\u003cp>On the other hand, there’s the fallout from decades of ongoing financial struggles. Shrinking enrollment, rising tuition, job losses, failed merger attempts, costly building expansions and threats of closure have pushed SFAI to the brink.\u003c/p>\n\u003cp>[aside postID='arts_13878509']This past year, fueled in part by the coronavirus pandemic, SFAI almost fell over that brink. Last spring, the school announced it would stop enrolling new students. The president stepped down and many adjunct faculty members were laid off. In the fall, the University of California purchased the school’s $19.7 million debt from a private bank, thereby becoming the landlord of SFAI’s historic Chestnut Street campus.\u003c/p>\n\u003cp>Then, right at the end of last year came a pair of widely-criticized moves by the school’s board of trustees: they considered selling off SFAI’s prized Diego Rivera mural (that possibility was upended at least for now by a \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Board of Supervisors decision\u003c/a> to confer landmark status on the artwork) and voted to spend $1.5 million of the school’s $5.4 million in investments and unrestricted endowment.\u003c/p>\n\u003cp>“Its future does not look promising at this point,” Dafoe says, adding that other art schools in North America, such as the Nova Scotia College of Art and Design in Halifax, Canada and the Watkins College of Art in Nashville, Tennessee, have been facing similar travails. “It’s worth noting, though, that none of these schools have had the reputation or generational influence that SFAI has had throughout its history.”\u003c/p>\n\u003cfigure id=\"attachment_13893885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13893885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-curators Margaret Tedesco and Leila Weefur at SFAI’s historic Chestnut Campus, 2020. \u003ccite>(Photo by Alex Peterson; courtesy of San Francisco Art Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Third Way\u003c/h2>\n\u003cp>Faced with the unenviable task of putting together a landmark art show against the backdrop of these two somewhat competing realities, the curators of \u003cem>A Spirit of Disruption\u003c/em> are interested in presenting the school’s legacy in a third way.\u003c/p>\n\u003cp>“The concept behind curating this exhibition is to disrupt the history,” says Oakland artist, curator and former SFAI faculty member \u003ca href=\"http://www.leilaweefur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leila Weefur\u003c/a>, who co-curated the exhibition. “We don’t want the financial turbulence to overshadow this amazing milestone for both the artists and for the institution, and we’re dedicated to making sure that we pay very close attention to which artists in SFAI’s 150-year history have not been a priority in the visibility of the school.”\u003c/p>\n\u003cp>“It’s an invitation to read between the lines,” says fellow co-curator, longtime SFAI staffer and educator Margaret Tedesco.\u003c/p>\n\u003cp>[aside postID='arts_13889433']Between a gallery show and a video archive, Weefur and Tedesco have selected the work of close to 200 artists—all of them with connections to the institution from its recent and long-distant past—for \u003cem>A Spirit of Disruption\u003c/em>, which opens both online and at the school’s Chestnut Street campus on March 19. Their selections stand in stark contrast to the majority of the artists previously celebrated during the school’s history, whom the curators say have mostly been white and cis-gendered. (This is possibly reflective of SFAI’s historical demographics, though the latest data shared by the school shows increased racial diversity in faculty and students between 2010 and 2019.)\u003c/p>\n\u003cp>Green engages her queer and trans identities through sculptures of mushrooms. “I think about fungi as this kind of metaphor for otherness,” Green says. “The mushroom itself is the fruiting body of the organism, and in my work, I’m exploring this form as a stand in for the queer body, or even as queerness itself.”\u003c/p>\n\u003cp>Lu’s background growing up in an Asian family around everyday and exotic produce in the grocery stores of Miami, Florida informs her large-scale artwork featuring various ceramic fruits.\u003c/p>\n\u003cfigure id=\"attachment_13893582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893582 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg\" alt=\"\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Customs Declaration’ by Cathy Lu. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the fruits as a metaphor for immigrants,” says Lu. “The reason why those foods are there is because the immigrants who moved there wanted to eat those foods. A lot of the foods that we think of as American are actually not native to the U.S.”\u003c/p>\n\u003cp>Tedesco and Weefur also pay homage to underrepresented community members from SFAI’s less recent past, such as the artist’s model, educator, journalist and activist Florence Wysinger Allen.\u003c/p>\n\u003cp>Allen was born in Oakland in 1913 and went on to become a pivotal figure in San Francisco’s artistic scene until she passed away in 1997. She sat for artists like David Park and Wayne Thiebaud, and helped found the San Francisco Models’ Guild, which paved the way for higher wages for people in her profession. All of this at a time when Black models were extremely rare.\u003c/p>\n\u003cp>“Flo Wysinger held quite a large presence on the campus and in the Bay Area,” says Tedesco. “She was quite an entrepreneur, very forthright, loved the body as the form for the benefit of all the artists that she served.”\u003c/p>\n\u003cp>The curators say that despite Allen’s status as a local celebrity, she often wasn’t given the respect she deserved. Like most artist’s models, her name was often omitted from curatorial materials and she was looked down on in the media.\u003c/p>\n\u003cfigure id=\"attachment_13893878\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13893878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Philipp Weisman, ‘Untitled,’ 1955. An oil painting believed to depict Florence Wysinger Allen. \u003ccite>(Courtesy Pam Martin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s very objectified,” says Weefur.\u003c/p>\n\u003cp>“For instance, we have newspaper articles that refer to things like her ‘caramely, chocolaty body,’” Tedesco explains.\u003c/p>\n\u003cp>“And I think at the time we didn’t have the language for how a lot of the white men she was working with were framing her in the works that she was contributing her body to,” Weefur says, adding that Allen is the subject of an entire episode in the 10-part podcast series the curators are putting together to accompany the exhibition.\u003c/p>\n\u003ch2>Uncertain Future\u003c/h2>\n\u003cp>While \u003cem>A Spirit of Disruption\u003c/em> may help the public engage with a more nuanced version of SFAI’s past, the school’s future remains uncertain.\u003c/p>\n\u003cp>Many of the featured artists know that SFAI’s fiscal struggles are nothing new. Yet they’re still deeply shocked at the present set of circumstances and worried about what lies ahead.\u003c/p>\n\u003cp>“To lose the San Francisco Art Institute, a major institution not only in the United States but across the world, would be a disaster,” says artist \u003ca href=\"https://anglimgilbertgallery.com/mildred-howard/#ms-5957\" rel=\"noopener noreferrer\" target=\"_blank\">Mildred Howard\u003c/a>, who served on the school’s faculty from 1998 to 2015 and was an artist’s model at SFAI starting in the 1970s.\u003c/p>\n\u003cp>Howard was among the group of people who were \u003cem>for\u003c/em> the sale of the Rivera mural. “I truly believe that Diego Rivera thought that if that mural that he painted would save an institution, selling it would be just fine.” Howard says art is a business, not just a passion, so she’s dismayed about the outcry against the sale.\u003c/p>\n\u003cp>“There’s so many people that don’t understand how art can be used,” Howard says. “I don’t think they truly understand the larger picture of the San Francisco Art Institute and its importance to this country and to the world of art.”\u003c/p>\n\u003cp>[aside postID='arts_13892120']In an email to KQED, a school spokesperson said the board has a fiduciary responsibility to consider all options and scenarios to secure the future of SFAI, but no determinations have been made regarding a possible endowment or sale of artworks, including the Rivera mural, or other assets. The email stated that SFAI aims to raise $19 million within the next six years to purchase the Chestnut Street campus from the University of California. If SFAI cannot pay off or refinance that amount by 2026, UC takes possession of the campus and SFAI must vacate the premises.\u003c/p>\n\u003cp>“That will mean moving ahead aggressively on four fronts: rebuilding enrollment to pre-pandemic levels, maintaining our fundraising momentum, developing new revenue streams that will include leasing out all or part of the Fort Mason campus, and refinancing Chestnut Street with a long-term traditional real estate-backed mortgage enabling SFAI to repurchase the campus and pay it off over 30 years,” the spokesperson said. “These are ambitious goals, but they are achievable if the staff, faculty, alumni and board work together with the support of the philanthropic community.”\u003c/p>\n\u003cp>But some artists say the school hasn’t shown much interest in taking an inclusive approach to solving its problems thus far. Guardiola says the board should listen more carefully to the diverse voices in the school’s community—at the very least to the board-initiated group of alumni, staff and faculty who were meeting regularly during the second half of last year to reimagine a new future for the school, a group that has since disbanded. Some members of that Reimagine Committee, and artists interviewed for this story, expressed anger and a loss of trust in the board over the Rivera murals and endowment shenanigans.\u003c/p>\n\u003cp>“I think it’s important to have a proper balance of power, where the actual community, which is a really diverse community, has a say,” Guardiola says. “It’s important for that community to be involved in the final decision making.”\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>\u003ci>‘A Spirit of Disruption’ is on view March 19–July 3 in the Walter and McBean Galleries and Diego Rivera Gallery at the San Francisco Art Institute (800 Chestnut Street). \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"'A Sprit of Disruption' seeks out artists and narratives beyond the oft-repeated to celebrate the lauded but financially troubled institution. ","status":"publish","parent":0,"modified":1705019368,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":2094},"headData":{"title":"In Anniversary Show, Alumni Address SFAI’s Complex 150-Year Legacy | KQED","description":"'A Sprit of Disruption' seeks out artists and narratives beyond the oft-repeated to celebrate the lauded but financially troubled institution. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Anniversary Show, Alumni Address SFAI’s Complex 150-Year Legacy","datePublished":"2021-03-11T22:24:32.000Z","dateModified":"2024-01-12T00:29:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13893578/in-anniversary-show-alumni-address-sfais-complex-150-year-legacy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://sfai.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a> (SFAI) turns 150 years old this month, and as one might expect of an institution that’s managed to survive multiple earthquakes, socio-political upheavals, and economic bubbles and recessions, its legacy is complicated.\u003c/p>\n\u003cp>Just ask the alumni with work featured in SFAI’s upcoming 150th anniversary exhibition \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>A Spirit of Disruption\u003c/i>\u003c/a>:\u003c/p>\n\u003cp>“I have mixed emotions when I think about SFAI,” says ceramicist \u003ca href=\"https://cathyclu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Lu\u003c/a>, who earned her MFA from the school in 2010. “I want to hug the building. The faculty and students are great. But then there’s all that weird stuff that makes me want to look away.”\u003c/p>\n\u003cp>“It was a really special place for me,” says interdisciplinary artist \u003ca href=\"https://www.pabloguardiola.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pablo Guardiola\u003c/a> (MFA 2005). “But I have a lot of issues with the school.”\u003c/p>\n\u003cp>“It’s a little perplexing,” says transdisciplinary artist \u003ca href=\"https://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Green\u003c/a> (BFA 2009). “It feels warm to have gotten to be a part of that experience, but it was also very complicated, sometimes very difficult, to be in the environment of the school.”\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>“SFAI was a whole new world. I was able to meet people from all over, exchange ideas and be part of very interesting conversations. My practice truly expanded during my time there,” says multimedia artist \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a> (MFA 2016). “But I hope it will treat its adjunct staff and student body with the respect and dignity they deserve.”\u003c/p>\n\u003cp>These former students’ bifurcated feelings about their alma mater are understandable.\u003c/p>\n\u003cfigure id=\"attachment_13893883\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg\" alt=\"\" width=\"1200\" height=\"1125\" class=\"size-full wp-image-13893883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-768x720.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Xylor Jane, ‘Via Crucis II Cross,’ 2010; Oil on panel. \u003ccite>(Collection of Penny Cooper and Rena Rosenwasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bifurcated Reputation\u003c/h2>\n\u003cp>On the one hand, there’s SFAI’s staggering global reputation and influence. SFAI was a hub for Abstract Expressionism, the Mission School, the Bay Area Figurative Movement and Funk Art. Its faculty included Ansel Adams, Dorothea Lange, Angela Davis and Richard Diebenkorn. Annie Leibovitz, Catherine Opie, Kehinde Wiley, Barry McGee and Rigo 23 all studied there. And the school has long been celebrated for its tight-knit sense of community and spirit of wild experimentation.\u003c/p>\n\u003cp>“SFAI holds a special place in the collective arts world,” says Taylor Dafoe, a reporter at \u003ca href=\"https://news.artnet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Artnet News\u003c/a> who has written extensively about art education in this country. “For a lot of people, it represents this kind of platonic ideal of what an art school is: a funky, hyper-liberal West Coast bastion of creativity, where pieces of performance art are being staged in the hallways, dorm rooms are turned into studios and things like that.”\u003c/p>\n\u003cp>On the other hand, there’s the fallout from decades of ongoing financial struggles. Shrinking enrollment, rising tuition, job losses, failed merger attempts, costly building expansions and threats of closure have pushed SFAI to the brink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13878509","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This past year, fueled in part by the coronavirus pandemic, SFAI almost fell over that brink. Last spring, the school announced it would stop enrolling new students. The president stepped down and many adjunct faculty members were laid off. In the fall, the University of California purchased the school’s $19.7 million debt from a private bank, thereby becoming the landlord of SFAI’s historic Chestnut Street campus.\u003c/p>\n\u003cp>Then, right at the end of last year came a pair of widely-criticized moves by the school’s board of trustees: they considered selling off SFAI’s prized Diego Rivera mural (that possibility was upended at least for now by a \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Board of Supervisors decision\u003c/a> to confer landmark status on the artwork) and voted to spend $1.5 million of the school’s $5.4 million in investments and unrestricted endowment.\u003c/p>\n\u003cp>“Its future does not look promising at this point,” Dafoe says, adding that other art schools in North America, such as the Nova Scotia College of Art and Design in Halifax, Canada and the Watkins College of Art in Nashville, Tennessee, have been facing similar travails. “It’s worth noting, though, that none of these schools have had the reputation or generational influence that SFAI has had throughout its history.”\u003c/p>\n\u003cfigure id=\"attachment_13893885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13893885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-curators Margaret Tedesco and Leila Weefur at SFAI’s historic Chestnut Campus, 2020. \u003ccite>(Photo by Alex Peterson; courtesy of San Francisco Art Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Third Way\u003c/h2>\n\u003cp>Faced with the unenviable task of putting together a landmark art show against the backdrop of these two somewhat competing realities, the curators of \u003cem>A Spirit of Disruption\u003c/em> are interested in presenting the school’s legacy in a third way.\u003c/p>\n\u003cp>“The concept behind curating this exhibition is to disrupt the history,” says Oakland artist, curator and former SFAI faculty member \u003ca href=\"http://www.leilaweefur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leila Weefur\u003c/a>, who co-curated the exhibition. “We don’t want the financial turbulence to overshadow this amazing milestone for both the artists and for the institution, and we’re dedicated to making sure that we pay very close attention to which artists in SFAI’s 150-year history have not been a priority in the visibility of the school.”\u003c/p>\n\u003cp>“It’s an invitation to read between the lines,” says fellow co-curator, longtime SFAI staffer and educator Margaret Tedesco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889433","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Between a gallery show and a video archive, Weefur and Tedesco have selected the work of close to 200 artists—all of them with connections to the institution from its recent and long-distant past—for \u003cem>A Spirit of Disruption\u003c/em>, which opens both online and at the school’s Chestnut Street campus on March 19. Their selections stand in stark contrast to the majority of the artists previously celebrated during the school’s history, whom the curators say have mostly been white and cis-gendered. (This is possibly reflective of SFAI’s historical demographics, though the latest data shared by the school shows increased racial diversity in faculty and students between 2010 and 2019.)\u003c/p>\n\u003cp>Green engages her queer and trans identities through sculptures of mushrooms. “I think about fungi as this kind of metaphor for otherness,” Green says. “The mushroom itself is the fruiting body of the organism, and in my work, I’m exploring this form as a stand in for the queer body, or even as queerness itself.”\u003c/p>\n\u003cp>Lu’s background growing up in an Asian family around everyday and exotic produce in the grocery stores of Miami, Florida informs her large-scale artwork featuring various ceramic fruits.\u003c/p>\n\u003cfigure id=\"attachment_13893582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893582 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg\" alt=\"\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Customs Declaration’ by Cathy Lu. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the fruits as a metaphor for immigrants,” says Lu. “The reason why those foods are there is because the immigrants who moved there wanted to eat those foods. A lot of the foods that we think of as American are actually not native to the U.S.”\u003c/p>\n\u003cp>Tedesco and Weefur also pay homage to underrepresented community members from SFAI’s less recent past, such as the artist’s model, educator, journalist and activist Florence Wysinger Allen.\u003c/p>\n\u003cp>Allen was born in Oakland in 1913 and went on to become a pivotal figure in San Francisco’s artistic scene until she passed away in 1997. She sat for artists like David Park and Wayne Thiebaud, and helped found the San Francisco Models’ Guild, which paved the way for higher wages for people in her profession. All of this at a time when Black models were extremely rare.\u003c/p>\n\u003cp>“Flo Wysinger held quite a large presence on the campus and in the Bay Area,” says Tedesco. “She was quite an entrepreneur, very forthright, loved the body as the form for the benefit of all the artists that she served.”\u003c/p>\n\u003cp>The curators say that despite Allen’s status as a local celebrity, she often wasn’t given the respect she deserved. Like most artist’s models, her name was often omitted from curatorial materials and she was looked down on in the media.\u003c/p>\n\u003cfigure id=\"attachment_13893878\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13893878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Philipp Weisman, ‘Untitled,’ 1955. An oil painting believed to depict Florence Wysinger Allen. \u003ccite>(Courtesy Pam Martin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s very objectified,” says Weefur.\u003c/p>\n\u003cp>“For instance, we have newspaper articles that refer to things like her ‘caramely, chocolaty body,’” Tedesco explains.\u003c/p>\n\u003cp>“And I think at the time we didn’t have the language for how a lot of the white men she was working with were framing her in the works that she was contributing her body to,” Weefur says, adding that Allen is the subject of an entire episode in the 10-part podcast series the curators are putting together to accompany the exhibition.\u003c/p>\n\u003ch2>Uncertain Future\u003c/h2>\n\u003cp>While \u003cem>A Spirit of Disruption\u003c/em> may help the public engage with a more nuanced version of SFAI’s past, the school’s future remains uncertain.\u003c/p>\n\u003cp>Many of the featured artists know that SFAI’s fiscal struggles are nothing new. Yet they’re still deeply shocked at the present set of circumstances and worried about what lies ahead.\u003c/p>\n\u003cp>“To lose the San Francisco Art Institute, a major institution not only in the United States but across the world, would be a disaster,” says artist \u003ca href=\"https://anglimgilbertgallery.com/mildred-howard/#ms-5957\" rel=\"noopener noreferrer\" target=\"_blank\">Mildred Howard\u003c/a>, who served on the school’s faculty from 1998 to 2015 and was an artist’s model at SFAI starting in the 1970s.\u003c/p>\n\u003cp>Howard was among the group of people who were \u003cem>for\u003c/em> the sale of the Rivera mural. “I truly believe that Diego Rivera thought that if that mural that he painted would save an institution, selling it would be just fine.” Howard says art is a business, not just a passion, so she’s dismayed about the outcry against the sale.\u003c/p>\n\u003cp>“There’s so many people that don’t understand how art can be used,” Howard says. “I don’t think they truly understand the larger picture of the San Francisco Art Institute and its importance to this country and to the world of art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892120","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In an email to KQED, a school spokesperson said the board has a fiduciary responsibility to consider all options and scenarios to secure the future of SFAI, but no determinations have been made regarding a possible endowment or sale of artworks, including the Rivera mural, or other assets. The email stated that SFAI aims to raise $19 million within the next six years to purchase the Chestnut Street campus from the University of California. If SFAI cannot pay off or refinance that amount by 2026, UC takes possession of the campus and SFAI must vacate the premises.\u003c/p>\n\u003cp>“That will mean moving ahead aggressively on four fronts: rebuilding enrollment to pre-pandemic levels, maintaining our fundraising momentum, developing new revenue streams that will include leasing out all or part of the Fort Mason campus, and refinancing Chestnut Street with a long-term traditional real estate-backed mortgage enabling SFAI to repurchase the campus and pay it off over 30 years,” the spokesperson said. “These are ambitious goals, but they are achievable if the staff, faculty, alumni and board work together with the support of the philanthropic community.”\u003c/p>\n\u003cp>But some artists say the school hasn’t shown much interest in taking an inclusive approach to solving its problems thus far. Guardiola says the board should listen more carefully to the diverse voices in the school’s community—at the very least to the board-initiated group of alumni, staff and faculty who were meeting regularly during the second half of last year to reimagine a new future for the school, a group that has since disbanded. Some members of that Reimagine Committee, and artists interviewed for this story, expressed anger and a loss of trust in the board over the Rivera murals and endowment shenanigans.\u003c/p>\n\u003cp>“I think it’s important to have a proper balance of power, where the actual community, which is a really diverse community, has a say,” Guardiola says. “It’s important for that community to be involved in the final decision making.”\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>\u003ci>‘A Spirit of Disruption’ is on view March 19–July 3 in the Walter and McBean Galleries and Diego Rivera Gallery at the San Francisco Art Institute (800 Chestnut Street). \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893578/in-anniversary-show-alumni-address-sfais-complex-150-year-legacy","authors":["8608"],"categories":["arts_1","arts_70"],"tags":["arts_2647","arts_10278","arts_6746","arts_10431","arts_3992"],"featImg":"arts_13893882","label":"arts"},"arts_13891106":{"type":"posts","id":"arts_13891106","meta":{"index":"posts_1591205157","site":"arts","id":"13891106","score":null,"sort":[1610507535000]},"guestAuthors":[],"slug":"diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale","title":"Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale","publishDate":1610507535,"format":"standard","headTitle":"Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9053990&GUID=BD2C3C2B-2D09-436C-97DF-DB52B348A9BB\" rel=\"noopener noreferrer\" target=\"_blank\">initiate landmark designation\u003c/a> for the 1931 Diego Rivera mural \u003ci>\u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">The Making of a Fresco Showing the Building of a City\u003c/a>\u003c/i> located inside the San Francisco Art Institute’s Chestnut Street campus.\u003c/p>\n\u003cp>Sponsored by District 3 Supervisor Aaron Peskin, the resolution addressed \u003ca href=\"https://hyperallergic.com/614232/plan-to-sell-diego-rivera-mural-at-san-francisco-art-institute-draws-backlash/\" rel=\"noopener noreferrer\" target=\"_blank\">recent concern\u003c/a> that the SFAI board of trustees was considering removing and selling the mural, appraised at $50 million, to cover the institution’s looming $19.7 million debt. That debt is to be repaid to the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" rel=\"noopener noreferrer\" target=\"_blank\">University of California\u003c/a> within six years. Recent coverage by the \u003ci>\u003ca href=\"https://www.nytimes.com/2021/01/05/arts/design/san-francisco-art-institute-diego-rivera-mural.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/i> identified the potential buyer as George Lucas’ Museum of Narrative Art in Los Angeles.\u003c/p>\n\u003cp>[aside postID='arts_13878509']While the SFAI board of trustees has emphasized its “desire to keep the mural where Rivera originally painted it,” as board chair Pam Rorke Levy wrote in a \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/SFAI-Board-Statement-1-11-21-FINAL-1.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Jan. 11 letter\u003c/a> to the supervisors, they opposed today’s initiation of landmark designation. \u003c/p>\n\u003cp>Instead, Levy asked that the supervisors to delay their decision “for at least a month,” explaining that “landmarking the mural now will prevent us from using it—SFAI’s only significant asset—to secure the $7 million bridge loan we need to make it through the pandemic and rebuild our enrollment over the next two years.”\u003c/p>\n\u003cp>Article 10 of the San Francisco Planning Code outlines the purposes of landmark designation “to promote the health, safety and general welfare of the public,” by protecting sites “that are reminders of past eras, events and persons important in local, state or national history.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is one of just three Rivera murals in San Francisco, and it depicts, along with the artist’s broad backside, anonymous steel riveters, industrial laborers, then-SFAI president William Gerstle and Coit Tower architect Arthur Brown, Jr.\u003c/p>\n\u003cp>As for how long it might take to achieve landmark designation for the Rivera mural, Peskin says, “The normal answer is it takes 60–120 days depending on how fast things happen. But in this particular case it doesn’t really matter.” That’s because he believes the mural is already protected by a previous landmark designation for SFAI’s entire Chestnut Street campus. (That proposal was approved in 1977 by then-Supervisor Diane Feinstein and signed into effect by Mayor George Moscone.) \u003c/p>\n\u003cp>In the paperwork attached to that approval, the \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9044582&GUID=BD7A409A-FBE1-42BE-BBE1-54DFA83AA393\" rel=\"noopener noreferrer\" target=\"_blank\">final case report\u003c/a> makes significant mention of the Rivera mural, including a detail about the artist asking for more square footage of wall space, but not a higher commission. \u003c/p>\n\u003cfigure id=\"attachment_13891111\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s Chestnut Street campus was given city landmark designation in 1977. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the 1977 designation doesn’t fully protect the mural in situ, Peskin thinks \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is worthy of individual recognition. In a Monday night meeting of the Land Use and Transportation Committee that advanced today’s resolution to the full Board of Supervisors, he called SFAI board efforts to delay the designation “heresy.” \u003c/p>\n\u003cp>There is near-unilateral support for today’s resolution within the SFAI community and the art community at large. The Committee to Re-Imagine SFAI (made up of alumni, staff, faculty and community members), which has been working for six months to chart a financially sustainable future for the art school, wrote a letter to the board of trustees in mid-December, stating that the sale of the mural “will cause irreparable harm to the ethical, moral, cultural, social, political, civic, domestic, and international standing of our institution.”\u003c/p>\n\u003cp>[aside postID='arts_13877340']The school’s adjunct faculty (most of them not currently teaching after SFAI initiated layoffs at the end of the spring 2020 semester) called the potential sale “desperate” in \u003ca href=\"https://mailchi.mp/07116bbd7260/future-of-diego-mural-at-sfai?e=f1e05722e5\" rel=\"noopener noreferrer\" target=\"_blank\">an email\u003c/a> sent to the community on Dec. 30. “In reducing the value of such an artwork to pure commodity, the board undermines its school’s own pedagogy,” the email continued, citing the glaring optics of a predominantly white-led institution selling off a work by an artist of color to stay afloat. \u003c/p>\n\u003cp>And on Jan. 7, Los Angeles artist and SFAI alum Catherine Opie wrote an \u003ca href=\"https://www.facebook.com/story.php?story_fbid=10159263426738420&id=533813419&ref=content_filter\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the SFAI board, announcing she would withdraw her photograph from an upcoming auction to benefit SFAI. “I can no longer be a part of a legacy that will sell off an essential unique piece of history,” she wrote.\u003c/p>\n\u003cp>In Levy’s Jan. 11 letter to the Board of Supervisors, she proposed the city work with SFAI to help the school “secure a loan or a loan guarantee or an outright grant from the city in the amount of $7 million … Longer term, we would like to explore with you a transaction in which the city could help us pay off our debt to UC and in exchange, receive a financial interest in the mural.”\u003c/p>\n\u003cp>Peskin says the city and county of San Francisco understand the importance of SFAI as a 150-year-old institution, and that he wants the school to survive and someday thrive. But, he emphasizes, “The city of San Francisco has its own problems during COVID and we are not the Art Institute’s bank.”\u003c/p>\n\u003cp>In the next chapter in this ever-unfolding saga, the Committee to Re-Imagine SFAI is scheduled to make its final report to the community in a \u003ca href=\"https://us02web.zoom.us/meeting/register/tZ0qcuiqqT8vHdxH3HLnyJpt-CnJCKYhZmB2\" target=\"_blank\" rel=\"noopener noreferrer\">virtual town hall\u003c/a> 4–6pm on Thursday, Jan. 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to accurately reflect that Diego Rivera asked for a larger wall for his fresco at SFAI, but not more money as originally stated.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Board of Supervisors moved Tuesday to protect the 1931 fresco, which had been considered for sale to repay the school's debts. ","status":"publish","parent":0,"modified":1705019661,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":980},"headData":{"title":"Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale | KQED","description":"The Board of Supervisors moved Tuesday to protect the 1931 fresco, which had been considered for sale to repay the school's debts. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale","datePublished":"2021-01-13T03:12:15.000Z","dateModified":"2024-01-12T00:34:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9053990&GUID=BD2C3C2B-2D09-436C-97DF-DB52B348A9BB\" rel=\"noopener noreferrer\" target=\"_blank\">initiate landmark designation\u003c/a> for the 1931 Diego Rivera mural \u003ci>\u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">The Making of a Fresco Showing the Building of a City\u003c/a>\u003c/i> located inside the San Francisco Art Institute’s Chestnut Street campus.\u003c/p>\n\u003cp>Sponsored by District 3 Supervisor Aaron Peskin, the resolution addressed \u003ca href=\"https://hyperallergic.com/614232/plan-to-sell-diego-rivera-mural-at-san-francisco-art-institute-draws-backlash/\" rel=\"noopener noreferrer\" target=\"_blank\">recent concern\u003c/a> that the SFAI board of trustees was considering removing and selling the mural, appraised at $50 million, to cover the institution’s looming $19.7 million debt. That debt is to be repaid to the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" rel=\"noopener noreferrer\" target=\"_blank\">University of California\u003c/a> within six years. Recent coverage by the \u003ci>\u003ca href=\"https://www.nytimes.com/2021/01/05/arts/design/san-francisco-art-institute-diego-rivera-mural.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/i> identified the potential buyer as George Lucas’ Museum of Narrative Art in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13878509","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While the SFAI board of trustees has emphasized its “desire to keep the mural where Rivera originally painted it,” as board chair Pam Rorke Levy wrote in a \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/SFAI-Board-Statement-1-11-21-FINAL-1.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Jan. 11 letter\u003c/a> to the supervisors, they opposed today’s initiation of landmark designation. \u003c/p>\n\u003cp>Instead, Levy asked that the supervisors to delay their decision “for at least a month,” explaining that “landmarking the mural now will prevent us from using it—SFAI’s only significant asset—to secure the $7 million bridge loan we need to make it through the pandemic and rebuild our enrollment over the next two years.”\u003c/p>\n\u003cp>Article 10 of the San Francisco Planning Code outlines the purposes of landmark designation “to promote the health, safety and general welfare of the public,” by protecting sites “that are reminders of past eras, events and persons important in local, state or national history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is one of just three Rivera murals in San Francisco, and it depicts, along with the artist’s broad backside, anonymous steel riveters, industrial laborers, then-SFAI president William Gerstle and Coit Tower architect Arthur Brown, Jr.\u003c/p>\n\u003cp>As for how long it might take to achieve landmark designation for the Rivera mural, Peskin says, “The normal answer is it takes 60–120 days depending on how fast things happen. But in this particular case it doesn’t really matter.” That’s because he believes the mural is already protected by a previous landmark designation for SFAI’s entire Chestnut Street campus. (That proposal was approved in 1977 by then-Supervisor Diane Feinstein and signed into effect by Mayor George Moscone.) \u003c/p>\n\u003cp>In the paperwork attached to that approval, the \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9044582&GUID=BD7A409A-FBE1-42BE-BBE1-54DFA83AA393\" rel=\"noopener noreferrer\" target=\"_blank\">final case report\u003c/a> makes significant mention of the Rivera mural, including a detail about the artist asking for more square footage of wall space, but not a higher commission. \u003c/p>\n\u003cfigure id=\"attachment_13891111\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s Chestnut Street campus was given city landmark designation in 1977. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the 1977 designation doesn’t fully protect the mural in situ, Peskin thinks \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is worthy of individual recognition. In a Monday night meeting of the Land Use and Transportation Committee that advanced today’s resolution to the full Board of Supervisors, he called SFAI board efforts to delay the designation “heresy.” \u003c/p>\n\u003cp>There is near-unilateral support for today’s resolution within the SFAI community and the art community at large. The Committee to Re-Imagine SFAI (made up of alumni, staff, faculty and community members), which has been working for six months to chart a financially sustainable future for the art school, wrote a letter to the board of trustees in mid-December, stating that the sale of the mural “will cause irreparable harm to the ethical, moral, cultural, social, political, civic, domestic, and international standing of our institution.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13877340","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The school’s adjunct faculty (most of them not currently teaching after SFAI initiated layoffs at the end of the spring 2020 semester) called the potential sale “desperate” in \u003ca href=\"https://mailchi.mp/07116bbd7260/future-of-diego-mural-at-sfai?e=f1e05722e5\" rel=\"noopener noreferrer\" target=\"_blank\">an email\u003c/a> sent to the community on Dec. 30. “In reducing the value of such an artwork to pure commodity, the board undermines its school’s own pedagogy,” the email continued, citing the glaring optics of a predominantly white-led institution selling off a work by an artist of color to stay afloat. \u003c/p>\n\u003cp>And on Jan. 7, Los Angeles artist and SFAI alum Catherine Opie wrote an \u003ca href=\"https://www.facebook.com/story.php?story_fbid=10159263426738420&id=533813419&ref=content_filter\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the SFAI board, announcing she would withdraw her photograph from an upcoming auction to benefit SFAI. “I can no longer be a part of a legacy that will sell off an essential unique piece of history,” she wrote.\u003c/p>\n\u003cp>In Levy’s Jan. 11 letter to the Board of Supervisors, she proposed the city work with SFAI to help the school “secure a loan or a loan guarantee or an outright grant from the city in the amount of $7 million … Longer term, we would like to explore with you a transaction in which the city could help us pay off our debt to UC and in exchange, receive a financial interest in the mural.”\u003c/p>\n\u003cp>Peskin says the city and county of San Francisco understand the importance of SFAI as a 150-year-old institution, and that he wants the school to survive and someday thrive. But, he emphasizes, “The city of San Francisco has its own problems during COVID and we are not the Art Institute’s bank.”\u003c/p>\n\u003cp>In the next chapter in this ever-unfolding saga, the Committee to Re-Imagine SFAI is scheduled to make its final report to the community in a \u003ca href=\"https://us02web.zoom.us/meeting/register/tZ0qcuiqqT8vHdxH3HLnyJpt-CnJCKYhZmB2\" target=\"_blank\" rel=\"noopener noreferrer\">virtual town hall\u003c/a> 4–6pm on Thursday, Jan. 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to accurately reflect that Diego Rivera asked for a larger wall for his fresco at SFAI, but not more money as originally stated.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale","authors":["61"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_2647","arts_10342","arts_10278","arts_3992"],"featImg":"arts_13891112","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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