San Francisco's Search for a Maya Angelou Monument is Back at Square One
Audio: San Francisco's Search for a Maya Angelou Monument is Back at Square One
Plans for Maya Angelou Monument in San Francisco Face Long Delay
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He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"},"cveltman":{"type":"authors","id":"8608","meta":{"index":"authors_1591205172","id":"8608","found":true},"name":"Chloe Veltman","firstName":"Chloe","lastName":"Veltman","slug":"cveltman","email":"cveltman@kqed.org","display_author_email":true,"staff_mastheads":["news"],"title":"Arts and Culture Reporter","bio":"Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>","avatar":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twitter":"chloeveltman","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Chloe Veltman | KQED","description":"Arts and Culture Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cveltman"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13907987":{"type":"posts","id":"arts_13907987","meta":{"index":"posts_1591205157","site":"arts","id":"13907987","score":null,"sort":[1641934758000]},"guestAuthors":[],"slug":"maya-angelou-is-the-first-black-woman-to-be-featured-on-a-u-s-quarter","title":"Maya Angelou is the First Black Woman to be Featured on a U.S. Quarter","publishDate":1641934758,"format":"standard","headTitle":"Maya Angelou is the First Black Woman to be Featured on a U.S. Quarter | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>A new quarter featuring legendary poet and civil rights activist \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/06/09/320290733/book-news-maya-angelou-remembered-as-having-the-voice-of-god\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Angelou\u003c/a> and other trailblazing American women officially started shipping to banks on Monday, the U.S. Mint \u003ca href=\"https://www.usmint.gov/news/press-releases/united-states-mint-begins-shipping-first-american-women-quarters-program-coins\" target=\"_blank\" rel=\"noopener noreferrer\">announced. \u003c/a>Angelou is the first Black woman to appear on the quarter.\u003c/p>\n\u003cp>The Maya Angelou design is the first quarter in the “American Women Quarters Program,” a four-year program that will include coins featuring prominent women in U.S. history.\u003c/p>\n\u003cp>The other honorees include astronaut Sally Ride; actress Anna May Wong; suffragist and politician Nina Otero-Warren; and Wilma Mankiller, the first female principal chief of the Cherokee Nation. The coins featuring the other honorees will be shipped out this year through 2025, according to the Mint.\u003c/p>\n\u003cp>Angelou, who died in 2014 at the age of 86, held many distinctions. She received a Presidential Medal of Freedom from former President Barack Obama and won the Literarian Award (an honorary National Book Award). In 1992, she became the first Black woman (and second-ever poet) to write and present a poem at a presidential inauguration, in 1992. She also held more than 30 honorary degrees and published more than 30 bestselling works.\u003c/p>\n\u003cp>[aside postID=news_10431582,arts_13875319]Angelou’s connections to the Bay Area are vast, having moved to the city at the age of 12. When she was 16, Angelou became San Francisco’s first Black female streetcar conductor. In her mid-20s, she performed calypso and blues at the Purple Onion in North Beach. Later, in 1968, she wrote and produced \u003ca href=\"https://www.kqed.org/news/10431582/from-the-archive-maya-angelou-hosts-1968-series-blacks-blues-black\" target=\"_blank\" rel=\"noopener noreferrer\">a 10-part series for KQED titled “Blacks, Blues, Black!”\u003c/a> In 1973, she moved briefly to Sonoma County.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Each 2022 quarter is designed to reflect the breadth and depth of accomplishments being celebrated throughout this historic coin program. Maya Angelou, featured on the reverse of this first coin in the series, used words to inspire and uplift,” Mint Deputy Director Ventris C. Gibson said in a \u003ca href=\"https://www.usmint.gov/news/press-releases/united-states-mint-begins-shipping-first-american-women-quarters-program-coins\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>.\u003c/p>\n\u003cp>The Angelou quarter shows the writer and poet on the “tails” side of the coin, with her arms uplifted. Behind her are a bird and the rising sun. The Mint says those images are “inspired by her poetry and symbolic of the way she lived.”\u003c/p>\n\u003cp>The “heads” side features a portrait of George Washington by a female sculptor that was first recommended to the Mint back in 1932. At the time, it selected a design by John Flanagan to portray Washington.\u003c/p>\n\u003cp>Treasury Secretary Janet Yellen celebrated the new coins, praising how far America has “progressed as a society.”\u003c/p>\n\u003cp>“I’m very proud that these coins celebrate the contributions of some of America’s most remarkable women, including Maya Angelou,” Yellen said in a separate \u003ca href=\"https://home.treasury.gov/news/press-releases/jy0554\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>.\u003c/p>\n\u003cp>Several lawmakers, such as California Democrat Rep. Barbara Lee and\u003ca href=\"https://twitter.com/SenCortezMasto/status/1480621493499355144?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Senator Catherine Cortez Masto of Nevada\u003c/a>, applauded the release of the new coin on Monday.\u003c/p>\n\u003cp>“The phenomenal women who shaped American history have gone unrecognized for too long—especially women of color,” Lee said in a \u003ca href=\"https://twitter.com/RepBarbaraLee/status/1480601346562797579?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a>. “Proud to have led this bill to honor their legacies.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lee was influential in introducing the \u003ca href=\"https://www.congress.gov/bill/116th-congress/house-bill/1923\" target=\"_blank\" rel=\"noopener noreferrer\">Circulating Collectible Coin Redesign Act of 2020\u003c/a>; the act passed in Jan. 2021 and essentially paved the way for the design of the new commemoration coins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Gabe Meline. Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+poet+Maya+Angelou+is+the+first+Black+woman+to+be+featured+on+a+U.S.+quarter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The Maya Angelou design is the first quarter in the \"American Women Quarters Program\"—a four-year program featuring prominent women in U.S. history. ","status":"publish","parent":0,"modified":1705007328,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":576},"headData":{"title":"Maya Angelou is the First Black Woman to be Featured on a U.S. Quarter | KQED","description":"The Maya Angelou design is the first quarter in the "American Women Quarters Program"—a four-year program featuring prominent women in U.S. history. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Maya Angelou is the First Black Woman to be Featured on a U.S. Quarter","datePublished":"2022-01-11T20:59:18.000Z","dateModified":"2024-01-11T21:08:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Burwell and Burwell Photography","nprByline":"Jonathan Franklin","nprImageAgency":"United States Mint image","nprStoryId":"1071965134","nprApiLink":"http://api.npr.org/query?id=1071965134&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/01/10/1071965134/maya-angelou-quarter-mint-shipped-first-black-woman?ft=nprml&f=1071965134","nprRetrievedStory":"1","nprPubDate":"Mon, 10 Jan 2022 21:35:00 -0500","nprStoryDate":"Mon, 10 Jan 2022 21:35:37 -0500","nprLastModifiedDate":"Mon, 10 Jan 2022 21:36:02 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13907987/maya-angelou-is-the-first-black-woman-to-be-featured-on-a-u-s-quarter","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new quarter featuring legendary poet and civil rights activist \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/06/09/320290733/book-news-maya-angelou-remembered-as-having-the-voice-of-god\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Angelou\u003c/a> and other trailblazing American women officially started shipping to banks on Monday, the U.S. Mint \u003ca href=\"https://www.usmint.gov/news/press-releases/united-states-mint-begins-shipping-first-american-women-quarters-program-coins\" target=\"_blank\" rel=\"noopener noreferrer\">announced. \u003c/a>Angelou is the first Black woman to appear on the quarter.\u003c/p>\n\u003cp>The Maya Angelou design is the first quarter in the “American Women Quarters Program,” a four-year program that will include coins featuring prominent women in U.S. history.\u003c/p>\n\u003cp>The other honorees include astronaut Sally Ride; actress Anna May Wong; suffragist and politician Nina Otero-Warren; and Wilma Mankiller, the first female principal chief of the Cherokee Nation. The coins featuring the other honorees will be shipped out this year through 2025, according to the Mint.\u003c/p>\n\u003cp>Angelou, who died in 2014 at the age of 86, held many distinctions. She received a Presidential Medal of Freedom from former President Barack Obama and won the Literarian Award (an honorary National Book Award). In 1992, she became the first Black woman (and second-ever poet) to write and present a poem at a presidential inauguration, in 1992. She also held more than 30 honorary degrees and published more than 30 bestselling works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_10431582,arts_13875319","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Angelou’s connections to the Bay Area are vast, having moved to the city at the age of 12. When she was 16, Angelou became San Francisco’s first Black female streetcar conductor. In her mid-20s, she performed calypso and blues at the Purple Onion in North Beach. Later, in 1968, she wrote and produced \u003ca href=\"https://www.kqed.org/news/10431582/from-the-archive-maya-angelou-hosts-1968-series-blacks-blues-black\" target=\"_blank\" rel=\"noopener noreferrer\">a 10-part series for KQED titled “Blacks, Blues, Black!”\u003c/a> In 1973, she moved briefly to Sonoma County.\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>“Each 2022 quarter is designed to reflect the breadth and depth of accomplishments being celebrated throughout this historic coin program. Maya Angelou, featured on the reverse of this first coin in the series, used words to inspire and uplift,” Mint Deputy Director Ventris C. Gibson said in a \u003ca href=\"https://www.usmint.gov/news/press-releases/united-states-mint-begins-shipping-first-american-women-quarters-program-coins\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>.\u003c/p>\n\u003cp>The Angelou quarter shows the writer and poet on the “tails” side of the coin, with her arms uplifted. Behind her are a bird and the rising sun. The Mint says those images are “inspired by her poetry and symbolic of the way she lived.”\u003c/p>\n\u003cp>The “heads” side features a portrait of George Washington by a female sculptor that was first recommended to the Mint back in 1932. At the time, it selected a design by John Flanagan to portray Washington.\u003c/p>\n\u003cp>Treasury Secretary Janet Yellen celebrated the new coins, praising how far America has “progressed as a society.”\u003c/p>\n\u003cp>“I’m very proud that these coins celebrate the contributions of some of America’s most remarkable women, including Maya Angelou,” Yellen said in a separate \u003ca href=\"https://home.treasury.gov/news/press-releases/jy0554\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>.\u003c/p>\n\u003cp>Several lawmakers, such as California Democrat Rep. Barbara Lee and\u003ca href=\"https://twitter.com/SenCortezMasto/status/1480621493499355144?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Senator Catherine Cortez Masto of Nevada\u003c/a>, applauded the release of the new coin on Monday.\u003c/p>\n\u003cp>“The phenomenal women who shaped American history have gone unrecognized for too long—especially women of color,” Lee said in a \u003ca href=\"https://twitter.com/RepBarbaraLee/status/1480601346562797579?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a>. “Proud to have led this bill to honor their legacies.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lee was influential in introducing the \u003ca href=\"https://www.congress.gov/bill/116th-congress/house-bill/1923\" target=\"_blank\" rel=\"noopener noreferrer\">Circulating Collectible Coin Redesign Act of 2020\u003c/a>; the act passed in Jan. 2021 and essentially paved the way for the design of the new commemoration coins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Gabe Meline. Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+poet+Maya+Angelou+is+the+first+Black+woman+to+be+featured+on+a+U.S.+quarter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907987/maya-angelou-is-the-first-black-woman-to-be-featured-on-a-u-s-quarter","authors":["byline_arts_13907987"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1680"],"affiliates":["arts_137"],"featImg":"arts_13907988","label":"arts_137"},"arts_13903966":{"type":"posts","id":"arts_13903966","meta":{"index":"posts_1591205157","site":"arts","id":"13903966","score":null,"sort":[1632940359000]},"guestAuthors":[],"slug":"me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored","title":"'Me Too' Founder Tarana Burke Says Black Girls' Trauma Shouldn't Be Ignored","publishDate":1632940359,"format":"standard","headTitle":"‘Me Too’ Founder Tarana Burke Says Black Girls’ Trauma Shouldn’t Be Ignored | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em> \u003cem>This interview includes a discussion of rape and sexual abuse\u003c/em>\u003c/p>\n\u003cp>In 2017, \u003cem>The New York Times\u003c/em> published \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">a story\u003c/a> chronicling decades of sexual harassment abuse against Hollywood producer Harvey Weinstein. Less than three years later, a Manhattan jury found Weinstein \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\" target=\"_blank\" rel=\"noopener noreferrer\">guilty\u003c/a> of rape and sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_13903968\" class=\"wp-caption alignright\" style=\"max-width: 431px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg\" alt=\"\" width=\"431\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg 431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274-160x120.jpg 160w\" sizes=\"(max-width: 431px) 100vw, 431px\">\u003cfigcaption class=\"wp-caption-text\">Activist Tarana Burke founded the Me Too movement in 2006 as a way for Black girls to share their stories of sexual trauma. \u003ccite>(Dougal Macarthur/Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist \u003ca href=\"https://www.npr.org/2019/02/01/689483577/tarana-burke-how-can-we-build-a-world-where-people-dont-have-to-say-me-too\" target=\"_blank\" rel=\"noopener noreferrer\">Tarana Burke\u003c/a>, the founder of the “Me Too” movement, sees a stark contrast in the timeline of Weinstein’s case and that of R&B singer R. Kelly, who dodged accusations for more than 25 years before finally being \u003ca href=\"https://www.kqed.org/arts/13903808/r-kelly-found-guilty-of-racketeering-and-sex-trafficking\" target=\"_blank\" rel=\"noopener noreferrer\">convicted\u003c/a> on Sept. 28 of sexual exploitation of a child, bribery, racketeering and sex trafficking.\u003c/p>\n\u003cp>“We are socialized to respond to the vulnerability of white women, and it’s a truth that is hard for some people to look in the face, and they feel uncomfortable when I say things like that,” she says. “But it is true. … [There’s a] stark difference in what it takes to get attention around Black women and girls.”\u003c/p>\n\u003cp>Burke has spent decades listening to Black and minority communities. She originated the phrase and concept of “Me Too” in 2006 as a way for victims of sexual violence to share their stories and connect with others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, when the #MeToo hashtag went viral in response to the Weinstein allegations, Burke worried that her work would be erased. She was also concerned that the women telling their stories on the internet were opening themselves up to harm.\u003c/p>\n\u003cp>“I thought, God, these people are going to cut and bleed all over the internet, which is the very worst place to be exposed and vulnerable in this moment,” she says.\u003c/p>\n\u003cp>But as she read the #MeToo stories women were sharing, she was blown away. Burke shifted her perspective to the “30,000 foot view,” and saw something much bigger than she had ever imagined unfolding. She also realized that in order to fully help women heal, she needed to tell her own “Me Too” story. She does that in the new memoir, \u003cem>Unbound: My Story of Liberation and the Birth of the Me Too Movement.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the shame she experienced after being raped at age 7, and the duality of being good or bad \u003c/strong>\u003c/p>\n\u003cp>[The shame comes from] not being able to protect yourself, and then the shame of breaking the rules. When we’re children it’s sort of cut and dry: You’re either good or you’re bad. There’s not really an in between. And when you are given a message over and over and over and over again, it says, “Don’t let anybody touch your private parts. Those are nasty things. Those are fresh things. Those are things that fast girls or bad girls do.” And you find yourself in this situation at a very young age. You’re either one or the other: You’re good or you’re bad. And there’s a lot of shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>On reading \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Maya Angelou\u003c/strong>\u003c/a>\u003cstrong>‘s \u003c/strong>\u003cstrong>\u003cem>I Know Why the Caged Bird Sings\u003c/em>\u003c/strong>\u003cstrong> and learning for the first time she wasn’t alone in her experience of sexual assault \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_108956']It opened my mind up to the idea that, first of all, that this could happen to other people. I didn’t even think about other girls. When I read it, I thought, even then, it’s just me and Maya Angelou, because this is somebody else that this happened to, and it made me wonder why God would let something like this happen to a good girl. Because in the book, I’m perceiving her as different than me. She was a good girl. She listened to her grandma. She did what she was supposed to do. She did her work. She got her chores. Why did this happen to her? It was such a beautiful thing for me to have that connection. I felt just less alone to have a story in the world that I could even connect to.\u003c/p>\n\u003cp>\u003cstrong>On doing a lot of self work to realize that the reason why she was abused had nothing to do with her \u003c/strong>\u003c/p>\n\u003cp>I often wonder why this person picked me. It could be something that he saw in my personality. It could be any number of things, but it’s all the depravity in his mind, it had nothing to do with who I was as a child or anything that I did as a child. There’s been all kinds of research, and we’ve seen stories, even anecdotal stories of predators telling about how they pick the children that they decide to go after and why. Maybe it’s the quiet child, maybe it’s the loud child. … They all have their reasons, but none of those reasons are connected to me, none of them were connected to me being a particular type of girl this happened to, which is what I put in my mind: “I’m the type of girl this happens to.” I had to work, go through a whole bunch of steps, to take the blame from myself and put it where it rightfully belonged. Take the burden from myself and lay it at the feet of the people who actually should hold that. That took a lot of work.\u003c/p>\n\u003cp>\u003cstrong>On seeing trauma in communities of color and how Black and brown girls are labeled as “angry” \u003c/strong>\u003c/p>\n\u003cp>I think when you couple the messages that we receive from the world about who we are and how we show up and how we should be valued with this kind of abuse, that it creates this really disturbing mixture of emotions and bad thoughts … And so I think a lot of little Black and brown girls internalize it, and then we see it come out in anger and behavior and things like that. But nobody tends to ask us those questions about where that came from. So it’s just a label, “these little Black girls with these attitudes,” “these little angry Black girls.” … We don’t get the questions that say, “Well, where did this come from?” …\u003c/p>\n\u003cp>This is a child, and children aren’t born angry. They aren’t born with attitudes. Something has to happen. Something has to have affected them in order to bring that about. Obviously, it’s not only sexual trauma, but there is trauma. And knowing that there’s so much trauma in communities of color, you would think that the first place that people would go is: “What happened?”\u003c/p>\n\u003cp>\u003cstrong>On how she coped with her own shame and trauma by being an overachiever \u003c/strong>\u003c/p>\n\u003cp>I think generally we’ve gotten so many messages about what sexual violence looks like and how it shows up in young survivors, in particular, and so we look for the sad girls and the girls who might be cutting or harming themselves in some way, or the girls who retreat from society. And those are also markers. But the overachieving perfectionists, melt-down-at-getting-a-B girls are also going through something. And that’s who I was.\u003c/p>\n\u003cp>\u003cstrong>On learning how to be an organizer and an activist at a young age in the “\u003ca href=\"https://www.alabama21cclc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century\u003c/a>” program in Alabama \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_98421']21st Century was life-changing from the moment I walked in the door and saw the young people dancing and singing freely to taking these sessions, going to these training sessions where I was literally learning to be an organizer, how to put together a campaign. … These were the first people to tell me, “You’re a leader now.” And it allowed me to exercise … a different kind of freedom to speak up and use my voice and say that my voice was valuable. And so it really just changed how I thought about myself, but also it gave me my vision of who I would be in the future. I had never seen anything like it, experienced anything like it. And I just wanted to be a part of it.\u003c/p>\n\u003cp>21st Century, the organization, was founded in Selma, Ala., and the founders were veterans of all of the civil rights movement, Black Power movement, labor movement, co-op movement. Like all of these various movements that came out of the ’60s and ’70s, these social justice movements. And so you’re no different than the young leaders in SNCC [the Student Nonviolent Coordinating Committee] in the 1960s—they were teenagers too. And [21st Century] told us stories of children, young people, who made a difference. They gave us leadership development, taught us organizing skills and sent us off into the world. I was like, “I have found my calling. This is it.” That was my tribe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Me+Too%27+Founder+Tarana+Burke+Says+Black+Girls%27+Trauma+Shouldn%27t+Be+Ignored&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Burke says she was worried when #MeToo went viral that women would suffer abuse online—and that her work would be erased. ","status":"publish","parent":0,"modified":1705007677,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1598},"headData":{"title":"'Me Too' Founder Tarana Burke Says Black Girls' Trauma Shouldn't Be Ignored | KQED","description":"Burke says she was worried when #MeToo went viral that women would suffer abuse online—and that her work would be erased. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Me Too' Founder Tarana Burke Says Black Girls' Trauma Shouldn't Be Ignored","datePublished":"2021-09-29T18:32:39.000Z","dateModified":"2024-01-11T21:14:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Tonya Mosley","nprImageAgency":"Flatiron Books","nprStoryId":"1041362145","nprApiLink":"http://api.npr.org/query?id=1041362145&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/09/29/1041362145/me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored?ft=nprml&f=1041362145","nprRetrievedStory":"1","nprPubDate":"Wed, 29 Sep 2021 13:20:00 -0400","nprStoryDate":"Wed, 29 Sep 2021 12:12:01 -0400","nprLastModifiedDate":"Wed, 29 Sep 2021 12:16:06 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/09/20210929_fa_01.mp3?orgId=427869011&topicId=1033&d=2640&p=13&story=1041362145&ft=nprml&f=1041362145","nprAudioM3u":"http://api.npr.org/m3u/11041552963-cf0464.m3u?orgId=427869011&topicId=1033&d=2640&p=13&story=1041362145&ft=nprml&f=1041362145","templateType":"standard","featuredImageType":"standard","path":"/arts/13903966/me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/09/20210929_fa_01.mp3?orgId=427869011&topicId=1033&d=2640&p=13&story=1041362145&ft=nprml&f=1041362145","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em> \u003cem>This interview includes a discussion of rape and sexual abuse\u003c/em>\u003c/p>\n\u003cp>In 2017, \u003cem>The New York Times\u003c/em> published \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">a story\u003c/a> chronicling decades of sexual harassment abuse against Hollywood producer Harvey Weinstein. Less than three years later, a Manhattan jury found Weinstein \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\" target=\"_blank\" rel=\"noopener noreferrer\">guilty\u003c/a> of rape and sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_13903968\" class=\"wp-caption alignright\" style=\"max-width: 431px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg\" alt=\"\" width=\"431\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg 431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274-160x120.jpg 160w\" sizes=\"(max-width: 431px) 100vw, 431px\">\u003cfigcaption class=\"wp-caption-text\">Activist Tarana Burke founded the Me Too movement in 2006 as a way for Black girls to share their stories of sexual trauma. \u003ccite>(Dougal Macarthur/Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist \u003ca href=\"https://www.npr.org/2019/02/01/689483577/tarana-burke-how-can-we-build-a-world-where-people-dont-have-to-say-me-too\" target=\"_blank\" rel=\"noopener noreferrer\">Tarana Burke\u003c/a>, the founder of the “Me Too” movement, sees a stark contrast in the timeline of Weinstein’s case and that of R&B singer R. Kelly, who dodged accusations for more than 25 years before finally being \u003ca href=\"https://www.kqed.org/arts/13903808/r-kelly-found-guilty-of-racketeering-and-sex-trafficking\" target=\"_blank\" rel=\"noopener noreferrer\">convicted\u003c/a> on Sept. 28 of sexual exploitation of a child, bribery, racketeering and sex trafficking.\u003c/p>\n\u003cp>“We are socialized to respond to the vulnerability of white women, and it’s a truth that is hard for some people to look in the face, and they feel uncomfortable when I say things like that,” she says. “But it is true. … [There’s a] stark difference in what it takes to get attention around Black women and girls.”\u003c/p>\n\u003cp>Burke has spent decades listening to Black and minority communities. She originated the phrase and concept of “Me Too” in 2006 as a way for victims of sexual violence to share their stories and connect with others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, when the #MeToo hashtag went viral in response to the Weinstein allegations, Burke worried that her work would be erased. She was also concerned that the women telling their stories on the internet were opening themselves up to harm.\u003c/p>\n\u003cp>“I thought, God, these people are going to cut and bleed all over the internet, which is the very worst place to be exposed and vulnerable in this moment,” she says.\u003c/p>\n\u003cp>But as she read the #MeToo stories women were sharing, she was blown away. Burke shifted her perspective to the “30,000 foot view,” and saw something much bigger than she had ever imagined unfolding. She also realized that in order to fully help women heal, she needed to tell her own “Me Too” story. She does that in the new memoir, \u003cem>Unbound: My Story of Liberation and the Birth of the Me Too Movement.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the shame she experienced after being raped at age 7, and the duality of being good or bad \u003c/strong>\u003c/p>\n\u003cp>[The shame comes from] not being able to protect yourself, and then the shame of breaking the rules. When we’re children it’s sort of cut and dry: You’re either good or you’re bad. There’s not really an in between. And when you are given a message over and over and over and over again, it says, “Don’t let anybody touch your private parts. Those are nasty things. Those are fresh things. Those are things that fast girls or bad girls do.” And you find yourself in this situation at a very young age. You’re either one or the other: You’re good or you’re bad. And there’s a lot of shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>On reading \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Maya Angelou\u003c/strong>\u003c/a>\u003cstrong>‘s \u003c/strong>\u003cstrong>\u003cem>I Know Why the Caged Bird Sings\u003c/em>\u003c/strong>\u003cstrong> and learning for the first time she wasn’t alone in her experience of sexual assault \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_108956","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It opened my mind up to the idea that, first of all, that this could happen to other people. I didn’t even think about other girls. When I read it, I thought, even then, it’s just me and Maya Angelou, because this is somebody else that this happened to, and it made me wonder why God would let something like this happen to a good girl. Because in the book, I’m perceiving her as different than me. She was a good girl. She listened to her grandma. She did what she was supposed to do. She did her work. She got her chores. Why did this happen to her? It was such a beautiful thing for me to have that connection. I felt just less alone to have a story in the world that I could even connect to.\u003c/p>\n\u003cp>\u003cstrong>On doing a lot of self work to realize that the reason why she was abused had nothing to do with her \u003c/strong>\u003c/p>\n\u003cp>I often wonder why this person picked me. It could be something that he saw in my personality. It could be any number of things, but it’s all the depravity in his mind, it had nothing to do with who I was as a child or anything that I did as a child. There’s been all kinds of research, and we’ve seen stories, even anecdotal stories of predators telling about how they pick the children that they decide to go after and why. Maybe it’s the quiet child, maybe it’s the loud child. … They all have their reasons, but none of those reasons are connected to me, none of them were connected to me being a particular type of girl this happened to, which is what I put in my mind: “I’m the type of girl this happens to.” I had to work, go through a whole bunch of steps, to take the blame from myself and put it where it rightfully belonged. Take the burden from myself and lay it at the feet of the people who actually should hold that. That took a lot of work.\u003c/p>\n\u003cp>\u003cstrong>On seeing trauma in communities of color and how Black and brown girls are labeled as “angry” \u003c/strong>\u003c/p>\n\u003cp>I think when you couple the messages that we receive from the world about who we are and how we show up and how we should be valued with this kind of abuse, that it creates this really disturbing mixture of emotions and bad thoughts … And so I think a lot of little Black and brown girls internalize it, and then we see it come out in anger and behavior and things like that. But nobody tends to ask us those questions about where that came from. So it’s just a label, “these little Black girls with these attitudes,” “these little angry Black girls.” … We don’t get the questions that say, “Well, where did this come from?” …\u003c/p>\n\u003cp>This is a child, and children aren’t born angry. They aren’t born with attitudes. Something has to happen. Something has to have affected them in order to bring that about. Obviously, it’s not only sexual trauma, but there is trauma. And knowing that there’s so much trauma in communities of color, you would think that the first place that people would go is: “What happened?”\u003c/p>\n\u003cp>\u003cstrong>On how she coped with her own shame and trauma by being an overachiever \u003c/strong>\u003c/p>\n\u003cp>I think generally we’ve gotten so many messages about what sexual violence looks like and how it shows up in young survivors, in particular, and so we look for the sad girls and the girls who might be cutting or harming themselves in some way, or the girls who retreat from society. And those are also markers. But the overachieving perfectionists, melt-down-at-getting-a-B girls are also going through something. And that’s who I was.\u003c/p>\n\u003cp>\u003cstrong>On learning how to be an organizer and an activist at a young age in the “\u003ca href=\"https://www.alabama21cclc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century\u003c/a>” program in Alabama \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_98421","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>21st Century was life-changing from the moment I walked in the door and saw the young people dancing and singing freely to taking these sessions, going to these training sessions where I was literally learning to be an organizer, how to put together a campaign. … These were the first people to tell me, “You’re a leader now.” And it allowed me to exercise … a different kind of freedom to speak up and use my voice and say that my voice was valuable. And so it really just changed how I thought about myself, but also it gave me my vision of who I would be in the future. I had never seen anything like it, experienced anything like it. And I just wanted to be a part of it.\u003c/p>\n\u003cp>21st Century, the organization, was founded in Selma, Ala., and the founders were veterans of all of the civil rights movement, Black Power movement, labor movement, co-op movement. Like all of these various movements that came out of the ’60s and ’70s, these social justice movements. And so you’re no different than the young leaders in SNCC [the Student Nonviolent Coordinating Committee] in the 1960s—they were teenagers too. And [21st Century] told us stories of children, young people, who made a difference. They gave us leadership development, taught us organizing skills and sent us off into the world. I was like, “I have found my calling. This is it.” That was my tribe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Me+Too%27+Founder+Tarana+Burke+Says+Black+Girls%27+Trauma+Shouldn%27t+Be+Ignored&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903966/me-too-founder-tarana-burke-says-black-girls-trauma-shouldnt-be-ignored","authors":["byline_arts_13903966"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_2798","arts_879","arts_1962","arts_1680","arts_3532"],"affiliates":["arts_137"],"featImg":"arts_13903971","label":"arts_137"},"arts_13889089":{"type":"posts","id":"arts_13889089","meta":{"index":"posts_1591205157","site":"arts","id":"13889089","score":null,"sort":[1605560623000]},"guestAuthors":[],"slug":"sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally","title":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally","publishDate":1605560623,"format":"standard","headTitle":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>[aside postID='arts_13889000,arts_13884238,arts_13883431' label='SFAC in the news']In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m confident we’ll be looked at in terms of the work we do in this space,” she says, “particularly as it relates to paying honor to more women and women of color.”\u003c/p>\n\n","blocks":[],"excerpt":"Acting Director of Cultural Affairs Denise Bradley-Tyson says redressing the long-delayed project was a top priority. ","status":"publish","parent":0,"modified":1705019847,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1328},"headData":{"title":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally | KQED","description":"Acting Director of Cultural Affairs Denise Bradley-Tyson says redressing the long-delayed project was a top priority. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally","datePublished":"2020-11-16T21:03:43.000Z","dateModified":"2024-01-12T00:37:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889000,arts_13884238,arts_13883431","label":"SFAC in the news "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\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>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \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>“I’m confident we’ll be looked at in terms of the work we do in this space,” she says, “particularly as it relates to paying honor to more women and women of color.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_5206","arts_1680","arts_1879","arts_7221"],"featImg":"arts_13864656","label":"arts"},"arts_13884238":{"type":"posts","id":"arts_13884238","meta":{"index":"posts_1591205157","site":"arts","id":"13884238","score":null,"sort":[1596511049000]},"guestAuthors":[],"slug":"sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument","title":"SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument","publishDate":1596511049,"format":"audio","headTitle":"SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>[aside postID=\"arts_13883431,arts_13870742,news_11794018\" label=\"public art in sf\"]So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CC32JF5B3yJ/\u003c/p>\n\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n","blocks":[],"excerpt":"In a lengthy meeting, city officials paused the selection process for a monument to Maya Angelou. ","status":"publish","parent":0,"modified":1705020338,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":876},"headData":{"title":"SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument | KQED","description":"In a lengthy meeting, city officials paused the selection process for a monument to Maya Angelou. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument","datePublished":"2020-08-04T03:17:29.000Z","dateModified":"2024-01-12T00:45:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2020/08/VeltmanAngelouDelay.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13883431,arts_13870742,news_11794018","label":"public art in sf "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\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 way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CC32JF5B3yJ"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument","authors":["8608","61"],"categories":["arts_1"],"tags":["arts_10278","arts_5206","arts_1680","arts_2628","arts_1300","arts_1879"],"featImg":"arts_13870771","label":"arts"},"arts_13883431":{"type":"posts","id":"arts_13883431","meta":{"index":"posts_1591205157","site":"arts","id":"13883431","score":null,"sort":[1594923503000]},"guestAuthors":[],"slug":"city-to-evaluate-public-monuments-but-community-questions-its-track-record","title":"SF to Evaluate Public Monuments, But Community Questions Its Track Record","publishDate":1594923503,"format":"audio","headTitle":"SF to Evaluate Public Monuments, But Community Questions Its Track Record | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) has outlined preliminary plans to evaluate which of the city’s nearly one hundred public monuments and memorials should stay—and which should go.\u003c/p>\n\u003cp>[aside postID='news_11826151,news_11825103,arts_13870742' label='Monuments in SF']The plan, ordered by Mayor London Breed, comes less than a month after \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">protesters toppled\u003c/a> several statues depicting controversial historical figures such as Junípero Serra and Ulysses S. Grant, and planned to pull down the statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">Christoper Columbus\u003c/a> in front of Coit Tower.\u003c/p>\n\u003cp>At a public meeting Wednesday, Visual Arts Committee Chair Dorka Keehn said she welcomes the chance to explore which monuments align with the city’s values.\u003c/p>\n\u003cp>“This is a really important and I think very exciting opportunity to look at our our old memorials and what we want to see represented in the city in the future,” Keehn said.\u003c/p>\n\u003cp>Keehn explained the city will look at factors like the story behind the historical figure the work depicts, the reputation of the artist who made it, how the community has responded to the work during its existence, and the cost of removing and storing it.\u003c/p>\n\u003cfigure id=\"attachment_13883457\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/ColumbusStorage.jpg\" alt=\"\" width=\"1280\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-768x576.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Christopher Columbus statue being removed from its plinth in front of Coit Tower in the early morning of June 18. \u003ccite>(SF Gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cost is a huge issue. Like other city departments facing cuts in the COVID-19 economic fallout, the city’s civic art budget has been slashed from close to $900,000 to just over $110,000 for 2021. And the bill for preparing and moving the toppled Columbus statue, and storing it for just one year, comes to $110,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keehn said when the criteria are in place, the city will move towards the second phase of the project—assessing the monuments themselves. She added that San Francisco is looking to other cities facing similar challenges with statues, like New York and Louisville, Kentucky, for guidance on that front.\u003c/p>\n\u003cp>“There are monuments in other cities that have been vandalized, that have had a negative response from the community,” Keehn said. “And so we’re going to be targeting those artworks first among our our larger group.”\u003c/p>\n\u003cp>The SFAC is partnering with the city’s Human Rights Commission and Recreation & Parks Department in an effort to engage the community in the process.\u003c/p>\n\u003cp>But the commission may face some pushback in its engagement efforts.\u003c/p>\n\u003cp>Several members of the public, as well as—in a highly unusual move—arts commission staffers, voiced their concerns at the meeting about the city’s broader monuments strategy and past handling of similar projects.\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Lava Thomas read a statement criticizing the city’s \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">process to commission\u003c/a> a new monument honoring poet Maya Angelou last year.\u003c/p>\n\u003cp>Thomas was prevented from clinching the prized assignment even though she was the arts commission’s leading choice of artist, after city officials said her proposed design wasn’t representational enough.\u003c/p>\n\u003cp>The artist accused the city of “weaponizing a European convention of statuary … by insisting that Dr. Angelou be honored ‘in the same way that men have historically been elevated in this city’—the very same men whose monuments embody white supremacy that have been toppled and removed.”\u003c/p>\n\u003cp>Arts commission officials wouldn’t allow Thomas to finish \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/LavaThomas_MayaAngelou_VAC_07152020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">her statement\u003c/a> because of time restrictions. This caused an outcry among other people present at the meeting, including fellow Black artist Sirron Norris, who was presenting a mural design for a construction fence outside the Southeast Treatment Plant in Bayview.\u003c/p>\n\u003cp>“I think it’s a time where we don’t hamper Black voices and we need to listen,” Norris said. “I’m going to let people know what I just heard because I’m angry. This shit is wrong.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read Lava Thomas’ full statement, provided to KQED, below:\u003c/p>\n\u003cblockquote>\u003cp>I’d like to address the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou for the San Francisco Library. First, I’d like to commend the SFAC staff for their professionalism during that process last year.\u003c/p>\n\u003cp>When the Visual Arts Committee failed to approve, under political pressure, the selection of my proposal in the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou, it upheld practices that are rooted in institutional racism. My proposal was selected, almost unanimously, by a panel that included a critical mass of Black women artists and arts professionals in a process that was transparent and democratic. My proposal was grounded in an ethos of inclusion and Black Aesthetics, followed the project and legislative guidelines which have “statue” crossed out and “artwork” written in its place.\u003c/p>\n\u003cp>Supervisor Catherine Stefani then demanded that the project be closed, calling for a traditional statue and weaponizing a European convention of statuary to reject my work by insisting that Dr. Angelou be honored “in the same way that men have historically been elevated in this city”—the very same men who embody white supremacy in monuments that have recently been toppled and removed. Stefani’s manner was rude and arrogant, and she left the VAC meeting before I and the other Black women in attendance had an opportunity to voice our concerns. This public display of disrespect and public rejection of Black women’s intellectual and creative labor is an affront to myself and the other Black women who were present.\u003c/p>\n\u003cp>When will the Arts Commission, the Visual Arts Committee, Supervisor Stefani and the SF Board of Supervisors take restorative action to remedy this egregious injustice?\u003c/p>\u003c/blockquote>\n\n","blocks":[],"excerpt":"Weeks after the toppling of several statues, the SFAC will review other monuments for potential removal.","status":"publish","parent":0,"modified":1705020423,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":983},"headData":{"title":"SF to Evaluate Public Monuments, But Community Questions Its Track Record | KQED","description":"Weeks after the toppling of several statues, the SFAC will review other monuments for potential removal.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF to Evaluate Public Monuments, But Community Questions Its Track Record","datePublished":"2020-07-16T18:18:23.000Z","dateModified":"2024-01-12T00:47:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2020/07/VeltmanMonumentReview.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record","audioDuration":70000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) has outlined preliminary plans to evaluate which of the city’s nearly one hundred public monuments and memorials should stay—and which should go.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11826151,news_11825103,arts_13870742","label":"Monuments in SF "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The plan, ordered by Mayor London Breed, comes less than a month after \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">protesters toppled\u003c/a> several statues depicting controversial historical figures such as Junípero Serra and Ulysses S. Grant, and planned to pull down the statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">Christoper Columbus\u003c/a> in front of Coit Tower.\u003c/p>\n\u003cp>At a public meeting Wednesday, Visual Arts Committee Chair Dorka Keehn said she welcomes the chance to explore which monuments align with the city’s values.\u003c/p>\n\u003cp>“This is a really important and I think very exciting opportunity to look at our our old memorials and what we want to see represented in the city in the future,” Keehn said.\u003c/p>\n\u003cp>Keehn explained the city will look at factors like the story behind the historical figure the work depicts, the reputation of the artist who made it, how the community has responded to the work during its existence, and the cost of removing and storing it.\u003c/p>\n\u003cfigure id=\"attachment_13883457\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/ColumbusStorage.jpg\" alt=\"\" width=\"1280\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-768x576.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Christopher Columbus statue being removed from its plinth in front of Coit Tower in the early morning of June 18. \u003ccite>(SF Gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cost is a huge issue. Like other city departments facing cuts in the COVID-19 economic fallout, the city’s civic art budget has been slashed from close to $900,000 to just over $110,000 for 2021. And the bill for preparing and moving the toppled Columbus statue, and storing it for just one year, comes to $110,000.\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>Keehn said when the criteria are in place, the city will move towards the second phase of the project—assessing the monuments themselves. She added that San Francisco is looking to other cities facing similar challenges with statues, like New York and Louisville, Kentucky, for guidance on that front.\u003c/p>\n\u003cp>“There are monuments in other cities that have been vandalized, that have had a negative response from the community,” Keehn said. “And so we’re going to be targeting those artworks first among our our larger group.”\u003c/p>\n\u003cp>The SFAC is partnering with the city’s Human Rights Commission and Recreation & Parks Department in an effort to engage the community in the process.\u003c/p>\n\u003cp>But the commission may face some pushback in its engagement efforts.\u003c/p>\n\u003cp>Several members of the public, as well as—in a highly unusual move—arts commission staffers, voiced their concerns at the meeting about the city’s broader monuments strategy and past handling of similar projects.\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Lava Thomas read a statement criticizing the city’s \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">process to commission\u003c/a> a new monument honoring poet Maya Angelou last year.\u003c/p>\n\u003cp>Thomas was prevented from clinching the prized assignment even though she was the arts commission’s leading choice of artist, after city officials said her proposed design wasn’t representational enough.\u003c/p>\n\u003cp>The artist accused the city of “weaponizing a European convention of statuary … by insisting that Dr. Angelou be honored ‘in the same way that men have historically been elevated in this city’—the very same men whose monuments embody white supremacy that have been toppled and removed.”\u003c/p>\n\u003cp>Arts commission officials wouldn’t allow Thomas to finish \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/LavaThomas_MayaAngelou_VAC_07152020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">her statement\u003c/a> because of time restrictions. This caused an outcry among other people present at the meeting, including fellow Black artist Sirron Norris, who was presenting a mural design for a construction fence outside the Southeast Treatment Plant in Bayview.\u003c/p>\n\u003cp>“I think it’s a time where we don’t hamper Black voices and we need to listen,” Norris said. “I’m going to let people know what I just heard because I’m angry. This shit is wrong.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read Lava Thomas’ full statement, provided to KQED, below:\u003c/p>\n\u003cblockquote>\u003cp>I’d like to address the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou for the San Francisco Library. First, I’d like to commend the SFAC staff for their professionalism during that process last year.\u003c/p>\n\u003cp>When the Visual Arts Committee failed to approve, under political pressure, the selection of my proposal in the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou, it upheld practices that are rooted in institutional racism. My proposal was selected, almost unanimously, by a panel that included a critical mass of Black women artists and arts professionals in a process that was transparent and democratic. My proposal was grounded in an ethos of inclusion and Black Aesthetics, followed the project and legislative guidelines which have “statue” crossed out and “artwork” written in its place.\u003c/p>\n\u003cp>Supervisor Catherine Stefani then demanded that the project be closed, calling for a traditional statue and weaponizing a European convention of statuary to reject my work by insisting that Dr. Angelou be honored “in the same way that men have historically been elevated in this city”—the very same men who embody white supremacy in monuments that have recently been toppled and removed. Stefani’s manner was rude and arrogant, and she left the VAC meeting before I and the other Black women in attendance had an opportunity to voice our concerns. This public display of disrespect and public rejection of Black women’s intellectual and creative labor is an affront to myself and the other Black women who were present.\u003c/p>\n\u003cp>When will the Arts Commission, the Visual Arts Committee, Supervisor Stefani and the SF Board of Supervisors take restorative action to remedy this egregious injustice?\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record","authors":["8608"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_10278","arts_10422","arts_5206","arts_1680","arts_1879"],"featImg":"arts_13883461","label":"arts"},"arts_13875319":{"type":"posts","id":"arts_13875319","meta":{"index":"posts_1591205157","site":"arts","id":"13875319","score":null,"sort":[1582315372000]},"guestAuthors":[],"slug":"watch-maya-angelou-reciting-countee-cullens-poem-heritage","title":"Watch Maya Angelou Reciting Countee Cullen's Poem 'Heritage'","publishDate":1582315372,"format":"video","headTitle":"Watch Maya Angelou Reciting Countee Cullen’s Poem ‘Heritage’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As Black History Month winds down, we’re proud to bring you a clip from the KQED archives of Dr. Maya Angelou reciting Countee Cullen’s poem “Heritage.” \u003c/p>\n\u003cp>The clip comes from \u003cem>\u003ca href=\"https://www.kqed.org/news/10431582/from-the-archive-maya-angelou-hosts-1968-series-blacks-blues-black\" rel=\"noopener noreferrer\" target=\"_blank\">Blacks, Blues, Black!\u003c/a>\u003c/em>, a 10-part series that Angelou wrote and produced for KQED in 1968. In episodes featuring interviews, historical segments and more, Angelou explored African-American culture and its place in American society—and she often opened or closed each episode with a poem.\u003c/p>\n\u003cp>With limited time for the TV cameras, Angelou reads a condensed version of Cullen’s work, drawing upon the poem’s opening and closing. Find the full poem \u003ca href=\"https://liberal-arts.wright.edu/sites/liberal-arts.wright.edu/files/page/attachments/Heritage_CounteeCullen.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and watch full episodes of \u003cem>Blacks, Blues, Black!\u003c/em> at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The clip comes from a 10-part series that Angelou wrote and produced for KQED in 1968.","status":"publish","parent":0,"modified":1705021247,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":130},"headData":{"title":"Watch Maya Angelou Reciting Countee Cullen's Poem 'Heritage' | KQED","description":"The clip comes from a 10-part series that Angelou wrote and produced for KQED in 1968.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch Maya Angelou Reciting Countee Cullen's Poem 'Heritage'","datePublished":"2020-02-21T20:02:52.000Z","dateModified":"2024-01-12T01:00:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=-E1Szn5Ick4","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Black History Month winds down, we’re proud to bring you a clip from the KQED archives of Dr. Maya Angelou reciting Countee Cullen’s poem “Heritage.” \u003c/p>\n\u003cp>The clip comes from \u003cem>\u003ca href=\"https://www.kqed.org/news/10431582/from-the-archive-maya-angelou-hosts-1968-series-blacks-blues-black\" rel=\"noopener noreferrer\" target=\"_blank\">Blacks, Blues, Black!\u003c/a>\u003c/em>, a 10-part series that Angelou wrote and produced for KQED in 1968. In episodes featuring interviews, historical segments and more, Angelou explored African-American culture and its place in American society—and she often opened or closed each episode with a poem.\u003c/p>\n\u003cp>With limited time for the TV cameras, Angelou reads a condensed version of Cullen’s work, drawing upon the poem’s opening and closing. Find the full poem \u003ca href=\"https://liberal-arts.wright.edu/sites/liberal-arts.wright.edu/files/page/attachments/Heritage_CounteeCullen.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and watch full episodes of \u003cem>Blacks, Blues, Black!\u003c/em> at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage","authors":["185"],"categories":["arts_73","arts_835"],"tags":["arts_7705","arts_4096","arts_1680","arts_1496"],"featImg":"arts_13875323","label":"arts"},"arts_13870742":{"type":"posts","id":"arts_13870742","meta":{"index":"posts_1591205157","site":"arts","id":"13870742","score":null,"sort":[1579914004000]},"guestAuthors":[],"slug":"sfac-maya-angelou-women-statues","title":"San Francisco's Search for a Maya Angelou Monument is Back at Square One","publishDate":1579914004,"format":"audio","headTitle":"San Francisco’s Search for a Maya Angelou Monument is Back at Square One | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Shortly after the inauguration of Donald Trump, Margaux Kelly was looking for an antidote to the anger she felt about the president’s attitudes towards women.\u003c/p>\n\u003cp>[aside postID='arts_13872482,news_11794018,arts_13864632' label='Public Art News']\u003c/p>\n\u003cp>“My colleague and I came up with the idea of adding art pieces to the civic art collection,” said Kelly, who at the time was a young aide to then-San Francisco city supervisor Mark Farrell. “We wanted to help add additional female representation in the public realm.”\u003c/p>\n\u003cp>Their effort is taking off again as the San Francisco Arts Commission (SFAC) reboots a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. On Friday, Jan. 24, the SFAC \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Maya-Angelou-RFQ_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">issued a Request for Qualifications\u003c/a> inviting artists to submit proposals for a sculpture honoring Dr. Angelou. Specifically, a “3-dimensional statue depicting Dr. Angelou.”\u003c/p>\n\u003cp>The move comes three months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>Kelly said it was former U.S. Treasurer Rosie Rios’ efforts to put women on U.S. currency that originally inspired her to launch the initiative.\u003c/p>\n\u003cp>“Every image that I came across of a woman was an allegorical woman,” Rios said in a \u003ca href=\"https://youtu.be/FpndNAYmvhs\" target=\"_blank\" rel=\"noopener noreferrer\">2017 TED talk\u003c/a> on the topic. “It wasn’t a real woman. Kind of Lady Liberty. Or women in togas. Or sometimes no togas. But every image that I came across of a man was a real man.”\u003c/p>\n\u003cfigure id=\"attachment_13870796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Margaux Kelly. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly and her colleague learned there are nearly 90 statues of nonfictional men scattered across San Francisco’s public spaces, compared to just three of women.\u003c/p>\n\u003cp>So they drafted legislation to change that.\u003c/p>\n\u003cp>The plan was to increase the number of women honored with things like monuments and street names by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote. (The ordinance no longer specifies 30 percent representation on city property by 2020; that number is now an ongoing goal.)\u003c/p>\n\u003cp>The first woman they wanted to honor with a statue was writer and activist Maya Angelou.\u003c/p>\n\u003cp>Kelly says Angelou was the perfect fit for their ambitious first project. “She lived in San Francisco and she was the first African-American streetcar conductor here,” she explained.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also fitting that the statue was planned for outside the main branch of the San Francisco Public Library, which Angelou loved to frequent.\u003c/p>\n\u003cp>The city’s arts commission sent out a call to artists late last year. By early August, a selection panel had whittled more than 100 proposals down to just three. The front runner was a nine-foot-tall bronze book with Angelou’s face etched on the cover, designed by Berkeley-based artist Lava Thomas.\u003c/p>\n\u003cp>But in a rare move, the city turned that proposal down.\u003c/p>\n\u003cp>Kelly says that’s because it wasn’t a statue in the traditional sense.\u003c/p>\n\u003cp>“We wanted a piece of art, but we also wanted to make a political statement,” said Kelly. “The statue portion of it was important to us. And the understanding was that the end art piece would be a female figure that you could recognize was a female figure from afar.”\u003c/p>\n\u003cp>In fact, the word “statue” was written into the original legislation. This was changed after the city’s arts commissioners said the language was too restrictive.\u003c/p>\n\u003cfigure id=\"attachment_13870771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lava Thomas speaks at the Oct. 16 arts commission meeting about her disappointment in the process. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to provide artists with an opportunity to portray Maya Angelou and other women in the future in more contemporary and creative ways,” said arts commissioner Dorka Keehn of the language change.\u003c/p>\n\u003cp>But at a public meeting in mid-October, Supervisor Catherine Stefani, who worked with Kelly and her colleagues on pushing the enabling legislation through, told a room full of grim-faced arts professionals that nothing short of an actual statue of Maya Angelou would do.\u003c/p>\n\u003cp>“As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated in this city,” Stefani said.\u003c/p>\n\u003cp>Many of the people present at the meeting that day, including artist Lava Thomas, were angered by the decision. They questioned the motives behind it (someone called them “shady”) and said women should be honored differently.\u003c/p>\n\u003cp>“I can’t believe that a conservative statue in the manner of European figurative traditional monuments, that Confederate and colonial monuments are based on, that we are here discussing this in this city, San Francisco, that’s known for being progressive in every way,” Thomas said. “Come on, people!”\u003c/p>\n\u003cp>https://twitter.com/kittykendra1972/status/1192897617501442048\u003c/p>\n\u003cp>Then there are those who don’t think it’s worth building monuments at all. When KQED asked people on social media what they thought, many said they would rather see the city work to get women equal pay.\u003c/p>\n\u003cp>With the arts commission issuing a fresh callout to artists for the Maya Angelou monument, on what is SFAC head Tom DeCaigny’s last day on the job after \u003ca href=\"https://www.kqed.org/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs\" target=\"_blank\" rel=\"noopener noreferrer\">stepping down\u003c/a>, the project schedule starts over. The full arts commission is scheduled to approve panel recommendations by July 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The SF Arts Commission relaunches its selection process three months after city officials withdrew the opportunity from local artist Lava Thomas.","status":"publish","parent":0,"modified":1705021424,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":973},"headData":{"title":"San Francisco's Search for a Maya Angelou Monument is Back at Square One | KQED","description":"The SF Arts Commission relaunches its selection process three months after city officials withdrew the opportunity from local artist Lava Thomas.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco's Search for a Maya Angelou Monument is Back at Square One","datePublished":"2020-01-25T01:00:04.000Z","dateModified":"2024-01-12T01:03:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/10/VeltmanMayaAngelou.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13870742/sfac-maya-angelou-women-statues","audioDuration":101000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shortly after the inauguration of Donald Trump, Margaux Kelly was looking for an antidote to the anger she felt about the president’s attitudes towards women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13872482,news_11794018,arts_13864632","label":"Public Art News "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My colleague and I came up with the idea of adding art pieces to the civic art collection,” said Kelly, who at the time was a young aide to then-San Francisco city supervisor Mark Farrell. “We wanted to help add additional female representation in the public realm.”\u003c/p>\n\u003cp>Their effort is taking off again as the San Francisco Arts Commission (SFAC) reboots a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. On Friday, Jan. 24, the SFAC \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Maya-Angelou-RFQ_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">issued a Request for Qualifications\u003c/a> inviting artists to submit proposals for a sculpture honoring Dr. Angelou. Specifically, a “3-dimensional statue depicting Dr. Angelou.”\u003c/p>\n\u003cp>The move comes three months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>Kelly said it was former U.S. Treasurer Rosie Rios’ efforts to put women on U.S. currency that originally inspired her to launch the initiative.\u003c/p>\n\u003cp>“Every image that I came across of a woman was an allegorical woman,” Rios said in a \u003ca href=\"https://youtu.be/FpndNAYmvhs\" target=\"_blank\" rel=\"noopener noreferrer\">2017 TED talk\u003c/a> on the topic. “It wasn’t a real woman. Kind of Lady Liberty. Or women in togas. Or sometimes no togas. But every image that I came across of a man was a real man.”\u003c/p>\n\u003cfigure id=\"attachment_13870796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Margaux Kelly. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly and her colleague learned there are nearly 90 statues of nonfictional men scattered across San Francisco’s public spaces, compared to just three of women.\u003c/p>\n\u003cp>So they drafted legislation to change that.\u003c/p>\n\u003cp>The plan was to increase the number of women honored with things like monuments and street names by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote. (The ordinance no longer specifies 30 percent representation on city property by 2020; that number is now an ongoing goal.)\u003c/p>\n\u003cp>The first woman they wanted to honor with a statue was writer and activist Maya Angelou.\u003c/p>\n\u003cp>Kelly says Angelou was the perfect fit for their ambitious first project. “She lived in San Francisco and she was the first African-American streetcar conductor here,” she explained.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also fitting that the statue was planned for outside the main branch of the San Francisco Public Library, which Angelou loved to frequent.\u003c/p>\n\u003cp>The city’s arts commission sent out a call to artists late last year. By early August, a selection panel had whittled more than 100 proposals down to just three. The front runner was a nine-foot-tall bronze book with Angelou’s face etched on the cover, designed by Berkeley-based artist Lava Thomas.\u003c/p>\n\u003cp>But in a rare move, the city turned that proposal down.\u003c/p>\n\u003cp>Kelly says that’s because it wasn’t a statue in the traditional sense.\u003c/p>\n\u003cp>“We wanted a piece of art, but we also wanted to make a political statement,” said Kelly. “The statue portion of it was important to us. And the understanding was that the end art piece would be a female figure that you could recognize was a female figure from afar.”\u003c/p>\n\u003cp>In fact, the word “statue” was written into the original legislation. This was changed after the city’s arts commissioners said the language was too restrictive.\u003c/p>\n\u003cfigure id=\"attachment_13870771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lava Thomas speaks at the Oct. 16 arts commission meeting about her disappointment in the process. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to provide artists with an opportunity to portray Maya Angelou and other women in the future in more contemporary and creative ways,” said arts commissioner Dorka Keehn of the language change.\u003c/p>\n\u003cp>But at a public meeting in mid-October, Supervisor Catherine Stefani, who worked with Kelly and her colleagues on pushing the enabling legislation through, told a room full of grim-faced arts professionals that nothing short of an actual statue of Maya Angelou would do.\u003c/p>\n\u003cp>“As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated in this city,” Stefani said.\u003c/p>\n\u003cp>Many of the people present at the meeting that day, including artist Lava Thomas, were angered by the decision. They questioned the motives behind it (someone called them “shady”) and said women should be honored differently.\u003c/p>\n\u003cp>“I can’t believe that a conservative statue in the manner of European figurative traditional monuments, that Confederate and colonial monuments are based on, that we are here discussing this in this city, San Francisco, that’s known for being progressive in every way,” Thomas said. “Come on, people!”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1192897617501442048"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then there are those who don’t think it’s worth building monuments at all. When KQED asked people on social media what they thought, many said they would rather see the city work to get women equal pay.\u003c/p>\n\u003cp>With the arts commission issuing a fresh callout to artists for the Maya Angelou monument, on what is SFAC head Tom DeCaigny’s last day on the job after \u003ca href=\"https://www.kqed.org/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs\" target=\"_blank\" rel=\"noopener noreferrer\">stepping down\u003c/a>, the project schedule starts over. The full arts commission is scheduled to approve panel recommendations by July 2020.\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/13870742/sfac-maya-angelou-women-statues","authors":["8608"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_1118","arts_5206","arts_1680","arts_2628","arts_1879"],"featImg":"arts_13870789","label":"arts"},"arts_13871642":{"type":"posts","id":"arts_13871642","meta":{"index":"posts_1591205157","site":"arts","id":"13871642","score":null,"sort":[1576541008000]},"guestAuthors":[],"slug":"audio-san-franciscos-search-for-a-maya-angelou-monument-is-back-at-square-one","title":"Audio: San Francisco's Search for a Maya Angelou Monument is Back at Square One","publishDate":1576541008,"format":"audio","headTitle":"Audio: San Francisco’s Search for a Maya Angelou Monument is Back at Square One | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Arts Commission is rebooting a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. The move comes nearly two months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>The proposed monument is part of an overall plan to increase the number of women honored with monuments, street names and other public-facing outlets by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote.\u003c/p>\n\u003cp>KQED Arts will release the full web story about the city’s plans when the arts commission unveils its new callout to artists early in 2020. For now, please click the play button above for the audio version, which KQED News aired on Dec. 5, 2019.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The San Francisco Arts Commission will relaunch its selection process in 2020.","status":"publish","parent":0,"modified":1705021658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":169},"headData":{"title":"Audio: San Francisco's Search for a Maya Angelou Monument is Back at Square One | KQED","description":"The San Francisco Arts Commission will relaunch its selection process in 2020.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Audio: San Francisco's Search for a Maya Angelou Monument is Back at Square One","datePublished":"2019-12-17T00:03:28.000Z","dateModified":"2024-01-12T01:07:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/12/VeltmanAngelouStatue.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871642/audio-san-franciscos-search-for-a-maya-angelou-monument-is-back-at-square-one","audioDuration":277000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Arts Commission is rebooting a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. The move comes nearly two months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>The proposed monument is part of an overall plan to increase the number of women honored with monuments, street names and other public-facing outlets by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote.\u003c/p>\n\u003cp>KQED Arts will release the full web story about the city’s plans when the arts commission unveils its new callout to artists early in 2020. For now, please click the play button above for the audio version, which KQED News aired on Dec. 5, 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871642/audio-san-franciscos-search-for-a-maya-angelou-monument-is-back-at-square-one","authors":["8608"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_5206","arts_1680","arts_596","arts_2628","arts_1879","arts_7221"],"featImg":"arts_13870789","label":"arts"},"arts_13864632":{"type":"posts","id":"arts_13864632","meta":{"index":"posts_1591205157","site":"arts","id":"13864632","score":null,"sort":[1571335522000]},"guestAuthors":[],"slug":"plans-for-maya-angelou-monument-in-san-francisco-face-long-delay","title":"Plans for Maya Angelou Monument in San Francisco Face Long Delay","publishDate":1571335522,"format":"audio","headTitle":"Plans for Maya Angelou Monument in San Francisco Face Long Delay | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Plans to erect a major new monument in San Francisco honoring poet \u003ca href=\"https://www.mayaangelou.com/\" target=\"_blank\" rel=\"noopener\">Maya Angelou\u003c/a> now face a long delay, following a decision by city officials to scrap the city arts commission’s recommended proposal.\u003c/p>\n\u003cp>Around two months ago, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>‘s Visual Arts Committee selected Bay Area artist \u003ca href=\"http://www.lavathomas.com/\" target=\"_blank\" rel=\"noopener\">Lava Thomas\u003c/a>‘ proposal from a pool of three finalists.\u003c/p>\n\u003cp>The artwork, titled \u003ci>Portrait of a Phenomenal Woman\u003c/i>, was to stand outside the main branch of the \u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The verso of Lava Thomas’ ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But city officials said Thomas’ proposal for a nine-foot-tall book made out of bronze with Angelou’s face cast on the cover wasn’t “figurative” enough—in other words, that it was too abstract and conceptual.\u003c/p>\n\u003cp>They have ordered the arts commission to start the process over from scratch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-october-16-2019-agenda\" target=\"_blank\" rel=\"noopener\">visual arts committee meeting Wednesday\u003c/a>, San Francisco supervisor \u003ca href=\"https://sfbos.org/supervisor-stefani-district-2\" target=\"_blank\" rel=\"noopener\">Catherine Stefani\u003c/a>, who authored the legislation to commission the Angelou monument, explained the intent behind her legislation and the reason for the city’s decision.\u003c/p>\n\u003cp>“The legislation I wrote was clear: that the Maya Angelou statue be a significant figurative representation of Maya Angelou,” Stefani said. “As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated this city.”\u003c/p>\n\u003cp>Stefani said that the city’s call for proposals may not have been worded clearly enough, adding that it was unfair to the competing artists.\u003c/p>\n\u003cp>“I feel like the only fair way to be fair here is to give all the artists to meet the legislative intent by issuing a new RFP [Request for Proposals] with clear criteria that adheres to the legislative intent,” Stefani said.\u003c/p>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Acting director of cultural affairs, Joanne Lee, issued the following statement shortly after the meeting:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Given the lack of clear consensus on the selection, the Arts Commission’s Visual Arts Committee felt the best move would be to start this process over, and seek a more unifying outcome. All artists who responded to the Request for Qualifications will be invited to compete in the next public RFQ. This will be an important, permanent work of public art. It’s more important to get it done right than to get it done fast.\u003c/p>\n\u003c/blockquote>\n\u003cp>Members of the Bay Area arts community present at the meeting responded with dismay and anger, including Thomas herself. “The fact that an artist—a black woman—is disrespected in this way, in the name of honoring another black woman?” Thomas said. “Give me a break.”\u003c/p>\n\u003cfigure id=\"attachment_13868308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg\" alt=\"Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting. Oct. 16, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area resident and former vice president of the city’s planning commission, Edward Sewell, read aloud a letter from Angelou’s son, Guy Johnson. Johnson was a member of the selection panel for the project, though not present at the Wednesday meeting.\u003c/p>\n\u003cp>“I freely admit Ms. Thomas was not my first choice,” Johnson wrote in his letter, as dictated by Sewell. “But she was selected by a democratic process and I was fine with that.”\u003c/p>\n\u003cfigure id=\"attachment_13868307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg\" alt=\"Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Angelou work is the first in a larger initiative to close the gender gap among San Francisco’s public monuments. So far, of the city’s roughly 90 statues, less than a handful honor nonfictional women—among them, Dianne Feinstein and Florence Nightingale.\u003c/p>\n\u003cp>More than 100 artists responded to the art commission’s call for proposals in November 2018. An \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-august-21-2019-agenda\" target=\"_blank\" rel=\"noopener\">Arts Commission document\u003c/a> states the maximum budget for the Maya Angelou statue, including design, engineering, fabrication, consultation and transportation, is $180,000. The two other shortlisted proposals were by \u003ca href=\"http://www.julesarthur.com/\" target=\"_blank\" rel=\"noopener\">Jules Arthur\u003c/a> and \u003ca href=\"https://www.kachstudio.com/\" target=\"_blank\" rel=\"noopener\">Kenyatta A.C. Hinkle\u003c/a>.\u003c/p>\n\u003cp>“I was excited when I found out I was one of the three finalists,” Thomas said in a phone interview at the time she was informed that she had been recommended for the commission, back in August. “When I found out I’d been selected, I was elated and surprised.”\u003c/p>\n\u003cp>Angelou was a longtime resident of San Francisco. She moved to the city as a young girl in the early 1940s. She attended George Washington High School and studied dance and drama on a scholarship at the California Labor School. She was a regular attendee at Glide Memorial Church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the arts commission said the city is confident about selecting a new proposal for the project by the end of next year, before the enabling legislation expires.\u003c/p>\n\n","blocks":[],"excerpt":"Plans to erect a major new monument in San Francisco honoring Angelou have been delayed, following a decision by city officials to scrap the city arts commission's recommended proposal.","status":"publish","parent":0,"modified":1705021967,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":837},"headData":{"title":"Plans for Maya Angelou Monument in San Francisco Face Long Delay | KQED","description":"Plans to erect a major new monument in San Francisco honoring Angelou have been delayed, following a decision by city officials to scrap the city arts commission's recommended proposal.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Plans for Maya Angelou Monument in San Francisco Face Long Delay","datePublished":"2019-10-17T18:05:22.000Z","dateModified":"2024-01-12T01:12:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/10/VeltmanAngelouMonument.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864632/plans-for-maya-angelou-monument-in-san-francisco-face-long-delay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plans to erect a major new monument in San Francisco honoring poet \u003ca href=\"https://www.mayaangelou.com/\" target=\"_blank\" rel=\"noopener\">Maya Angelou\u003c/a> now face a long delay, following a decision by city officials to scrap the city arts commission’s recommended proposal.\u003c/p>\n\u003cp>Around two months ago, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>‘s Visual Arts Committee selected Bay Area artist \u003ca href=\"http://www.lavathomas.com/\" target=\"_blank\" rel=\"noopener\">Lava Thomas\u003c/a>‘ proposal from a pool of three finalists.\u003c/p>\n\u003cp>The artwork, titled \u003ci>Portrait of a Phenomenal Woman\u003c/i>, was to stand outside the main branch of the \u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The verso of Lava Thomas’ ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But city officials said Thomas’ proposal for a nine-foot-tall book made out of bronze with Angelou’s face cast on the cover wasn’t “figurative” enough—in other words, that it was too abstract and conceptual.\u003c/p>\n\u003cp>They have ordered the arts commission to start the process over from scratch.\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>At a \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-october-16-2019-agenda\" target=\"_blank\" rel=\"noopener\">visual arts committee meeting Wednesday\u003c/a>, San Francisco supervisor \u003ca href=\"https://sfbos.org/supervisor-stefani-district-2\" target=\"_blank\" rel=\"noopener\">Catherine Stefani\u003c/a>, who authored the legislation to commission the Angelou monument, explained the intent behind her legislation and the reason for the city’s decision.\u003c/p>\n\u003cp>“The legislation I wrote was clear: that the Maya Angelou statue be a significant figurative representation of Maya Angelou,” Stefani said. “As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated this city.”\u003c/p>\n\u003cp>Stefani said that the city’s call for proposals may not have been worded clearly enough, adding that it was unfair to the competing artists.\u003c/p>\n\u003cp>“I feel like the only fair way to be fair here is to give all the artists to meet the legislative intent by issuing a new RFP [Request for Proposals] with clear criteria that adheres to the legislative intent,” Stefani said.\u003c/p>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Acting director of cultural affairs, Joanne Lee, issued the following statement shortly after the meeting:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Given the lack of clear consensus on the selection, the Arts Commission’s Visual Arts Committee felt the best move would be to start this process over, and seek a more unifying outcome. All artists who responded to the Request for Qualifications will be invited to compete in the next public RFQ. This will be an important, permanent work of public art. It’s more important to get it done right than to get it done fast.\u003c/p>\n\u003c/blockquote>\n\u003cp>Members of the Bay Area arts community present at the meeting responded with dismay and anger, including Thomas herself. “The fact that an artist—a black woman—is disrespected in this way, in the name of honoring another black woman?” Thomas said. “Give me a break.”\u003c/p>\n\u003cfigure id=\"attachment_13868308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg\" alt=\"Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting. Oct. 16, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area resident and former vice president of the city’s planning commission, Edward Sewell, read aloud a letter from Angelou’s son, Guy Johnson. Johnson was a member of the selection panel for the project, though not present at the Wednesday meeting.\u003c/p>\n\u003cp>“I freely admit Ms. Thomas was not my first choice,” Johnson wrote in his letter, as dictated by Sewell. “But she was selected by a democratic process and I was fine with that.”\u003c/p>\n\u003cfigure id=\"attachment_13868307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg\" alt=\"Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Angelou work is the first in a larger initiative to close the gender gap among San Francisco’s public monuments. So far, of the city’s roughly 90 statues, less than a handful honor nonfictional women—among them, Dianne Feinstein and Florence Nightingale.\u003c/p>\n\u003cp>More than 100 artists responded to the art commission’s call for proposals in November 2018. An \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-august-21-2019-agenda\" target=\"_blank\" rel=\"noopener\">Arts Commission document\u003c/a> states the maximum budget for the Maya Angelou statue, including design, engineering, fabrication, consultation and transportation, is $180,000. The two other shortlisted proposals were by \u003ca href=\"http://www.julesarthur.com/\" target=\"_blank\" rel=\"noopener\">Jules Arthur\u003c/a> and \u003ca href=\"https://www.kachstudio.com/\" target=\"_blank\" rel=\"noopener\">Kenyatta A.C. Hinkle\u003c/a>.\u003c/p>\n\u003cp>“I was excited when I found out I was one of the three finalists,” Thomas said in a phone interview at the time she was informed that she had been recommended for the commission, back in August. “When I found out I’d been selected, I was elated and surprised.”\u003c/p>\n\u003cp>Angelou was a longtime resident of San Francisco. She moved to the city as a young girl in the early 1940s. She attended George Washington High School and studied dance and drama on a scholarship at the California Labor School. She was a regular attendee at Glide Memorial Church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the arts commission said the city is confident about selecting a new proposal for the project by the end of next year, before the enabling legislation expires.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864632/plans-for-maya-angelou-monument-in-san-francisco-face-long-delay","authors":["8608"],"categories":["arts_235","arts_70"],"tags":["arts_1118","arts_5206","arts_1680","arts_596","arts_2628","arts_1879"],"featImg":"arts_13864656","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. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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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. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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