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FM","link":"/"}},"arts_13920126":{"type":"posts","id":"arts_13920126","meta":{"index":"posts_1591205157","site":"arts","id":"13920126","score":null,"sort":[1665500402000]},"guestAuthors":[],"slug":"student-debt-relief-biden-artists-grad-school-mfa","title":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","publishDate":1665500402,"format":"standard","headTitle":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>[aside postID='arts_13826589']But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Steuart Pittman, Mills alum']‘I do think that no matter the cost the proverbial life in the arts is really one worth living.’[/pullquote]As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>[aside postID='arts_13916517,news_11914203']Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Dave Sandoval, CCA alum']‘I need to get this off my name, off my credit score, because you just don’t know.’[/pullquote]Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Maddy Clifford, Mills alum']‘The more I started researching the policy, the more I realized how profoundly unjust the student loans are.’[/pullquote]Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n","blocks":[],"excerpt":"Artists took out loans to advance their careers, only to have their futures delayed by massive student debt.","status":"publish","parent":0,"modified":1705006281,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":1995},"headData":{"title":"Why the $10K of Student Debt Relief Won’t Help Artists | KQED","description":"Artists took out loans to advance their careers, only to have their futures delayed by massive student debt.","ogTitle":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","ogDescription":"","ogImgId":"","twTitle":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","twDescription":"","twImgId":"","socialTitle":"Why the $10K of Student Debt Relief Won’t Help Artists %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","datePublished":"2022-10-11T15:00:02.000Z","dateModified":"2024-01-11T20:51:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920126/student-debt-relief-biden-artists-grad-school-mfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\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>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13826589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I do think that no matter the cost the proverbial life in the arts is really one worth living.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Steuart Pittman, Mills alum","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916517,news_11914203","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I need to get this off my name, off my credit score, because you just don’t know.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Dave Sandoval, CCA alum","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘The more I started researching the policy, the more I realized how profoundly unjust the student loans are.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Maddy Clifford, Mills alum","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\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>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920126/student-debt-relief-biden-artists-grad-school-mfa","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_5936","arts_5850","arts_10342","arts_10278","arts_18801","arts_2299","arts_746","arts_10431","arts_3992"],"featImg":"arts_13920270","label":"arts"},"arts_13911905":{"type":"posts","id":"arts_13911905","meta":{"index":"posts_1591205157","site":"arts","id":"13911905","score":null,"sort":[1650319219000]},"guestAuthors":[],"slug":"mills-college-music-department-experimental-avant-garde-northeastern","title":"With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest","publishDate":1650319219,"format":"standard","headTitle":"With the Future Uncertain, Mills’ Experimental ‘Music in the Fault Zone’ is Feted in Four-Day Fest | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gcl6dS4_HnU\u003c/p>\n\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oUfd6KI90gQ\u003c/p>\n\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RDlTgY5n5_c\u003c/p>\n\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vcBhXjCb8R8\u003c/p>\n\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQ2W42bOQxY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Mills College celebrates—and perhaps eulogizes—its influential avant-garde musical legacy at an April 21–24 festival.","status":"publish","parent":0,"modified":1705006963,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1562},"headData":{"title":"With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest | KQED","description":"Mills College celebrates—and perhaps eulogizes—its influential avant-garde musical legacy at an April 21–24 festival.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest","datePublished":"2022-04-18T22:00:19.000Z","dateModified":"2024-01-11T21:02:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911905/mills-college-music-department-experimental-avant-garde-northeastern","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12248119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gcl6dS4_HnU'\n title='//www.youtube.com/embed/Gcl6dS4_HnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oUfd6KI90gQ'\n title='//www.youtube.com/embed/oUfd6KI90gQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RDlTgY5n5_c'\n title='//www.youtube.com/embed/RDlTgY5n5_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vcBhXjCb8R8'\n title='//www.youtube.com/embed/vcBhXjCb8R8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQ2W42bOQxY'\n title='//www.youtube.com/embed/eQ2W42bOQxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911905/mills-college-music-department-experimental-avant-garde-northeastern","authors":["86"],"categories":["arts_1","arts_69","arts_1003"],"tags":["arts_15393","arts_10342","arts_1501","arts_3607","arts_10278","arts_6583","arts_1420","arts_2299","arts_585"],"featImg":"arts_13912037","label":"arts"},"arts_13901605":{"type":"posts","id":"arts_13901605","meta":{"index":"posts_1591205157","site":"arts","id":"13901605","score":null,"sort":[1629842347000]},"guestAuthors":[],"slug":"hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","title":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her","publishDate":1629842347,"format":"audio","headTitle":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The first thing visitors come across when they enter San Francisco’s \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a> is Oakland artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s U.S. Permanent Resident card.\u003c/p>\n\u003cp>Not the \u003cem>actual\u003c/em> artifact—but rather a colossal, painterly reproduction (itself based on \u003ci>Resident Alien\u003c/i>, an installation the artist made in 1988) that satirizes the experience of immigrating as a Chinese person to the U.S. The outsize print covers the entire back wall of the museum’s atrium. And it stops visitors like Beatrice Harrison, visiting the de Young for the first time from her home in Sacramento, in their tracks.\u003c/p>\n\u003cp>“It’s quite in your face,” Harrison says. “For a lot of folks that are just not familiar with how aliens have been treated, it’s good to see a representation.”\u003c/p>\n\u003cp>Liu died unexpectedly of pancreatic cancer earlier this month, just weeks ahead of a major, \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">career-defining retrospective\u003c/a> at the \u003ca href=\"https://npg.si.edu/home/national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">National Portrait Gallery\u003c/a> in Washington, D.C. The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks that focus on working class people and immigrants.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LV8e43K2zCI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Somehow you need to make a connection with whatever your subject,” Liu told KQED in a \u003ca href=\"https://ww2.kqed.org/spark/hung-liu/\" target=\"_blank\" rel=\"noopener noreferrer\">2005 video profile\u003c/a>. “Because when you have a human figure in any photograph or painting, you always ask, you know, ‘Who’s this?’”\u003c/p>\n\u003cp>This empathy is what gives Liu’s work such power, whether focusing on Dust Bowl migrants inspired by Dorothea Lange’s Depression-era photographs, or Chinese peasants and “comfort women” recreated from photos she took or collected herself.\u003c/p>\n\u003cp>“She’s uncovering forgotten histories—those people who are at risk of being forgotten—and making sure they’re seen and visible and respected,” says \u003ca href=\"https://profiles.si.edu/display/nMossD8302011\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Moss\u003c/a>, curator of painting and sculpture at the National Portrait Gallery. “The scale is monumental. The colors are searing. The texture is dripping with linseed oil, like a veil of tears. And the faces: There’s so much humanity in the faces.”\u003c/p>\n\u003cfigure id=\"attachment_13901648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901648 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu’s ‘Migrant Mother: Mealtime,’ 2016 is one of many recent works inspired by the photographs of Dorothea Lange. \u003ccite>(Collection of Michael Klein/Copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Growing Up Under Communism\u003c/h2>\n\u003cp>Liu was born in 1948 in the northeastern city of Changchun. The city was soon under siege in the struggle for power between nationalist and communist armies. When Liu’s family tried to escape, the communists arrested and imprisoned her father for his nationalist ties.\u003c/p>\n\u003cp>“She was six months old,” says Liu’s husband, art critic Jeff Kelley. “And she didn’t see him again until she was 46.”\u003c/p>\n\u003cp>The communist authorities continued to dictate the terms of Liu’s existence as an educated young woman. In 1968, during the Cultural Revolution, she was sent work in the fields with other students as part of a sweeping “reeducation” program.\u003c/p>\n\u003cfigure id=\"attachment_13901649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901649 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg\" alt=\"\" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1020x1350.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1160x1536.jpg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1547x2048.jpg 1547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Village Photograph 4 Paintbox,’ circa 1970–72. Liu photographed villagers during her four years of farm labor during the Cultural Revolution. \u003ccite>(Collection of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They worked seven days a week, 364 days a year, for four years,” says Kelley.\u003c/p>\n\u003cp>Liu, who had enjoyed painting and drawing since she was little, spent her free moments sketching scenes of country life. But the art she was interested in making—even after she was allowed to resume her studies in Beijing as an art teacher—didn’t exactly capture the revolutionary spirit.\u003c/p>\n\u003cp>“She would paint landscapes in a kind of expressive Impressionist style,” Kelley says. “And they didn’t include heroic peasants. They didn’t include the Great Leader. They didn’t include signs of industrial or agricultural progress.”\u003c/p>\n\u003cp>Liu hid the contraband landscapes under her bed—and dreamed of escape.\u003c/p>\n\u003cp>“She told me that, one time, she was working in the fields, and she saw this silver passenger jet,” Kelley says. “And she looked and thought, ‘Where is it going? And will I ever be able to go there?’”\u003c/p>\n\u003cp>After several years of petitioning the Chinese government, in 1984, Liu did manage to board a plane. She headed on scholarship to art school at \u003ca href=\"https://visarts.ucsd.edu/grad/mfa.html\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13901651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu as a graduate student in Beijing, 1980. \u003ccite>(Courtesy of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, she studied with the feminist art historian Moira Roth as well as artist \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Kaprow\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Kaprow\u003c/a>, who coined the term “happenings” for the influential form of performance art he helped shape in the 1950s and 60s.\u003c/p>\n\u003cp>Kelley, who met Liu while he also studying art at UC San Diego, says Kaprow’s methods were unorthodox. “He took the class out to a dumpster with a bunch of paint. And then the professor said, ‘OK, do something.’ And Hung said, ‘Do what?’”\u003c/p>\n\u003cp>Kelley says that was a pivotal moment for Liu. “That was perhaps the most defining, liberating act in her education as an artist,” Kelley says. “That art could be whatever you insisted that it was.”\u003c/p>\n\u003cp>She and Kelley married in 1986; Liu brought her son Ling Chen (LC) from her previous marriage to live with her and Kelley in the U.S. The family settled in Texas, where Kelley had a university job. Liu divided her time between making art and working a series of day jobs, such as serving as a security guard at the Kimball Museum in Fort Worth and painting labels for soup cans. She started getting gallery shows around the country and eventually landed an academic position at the University of North Texas in Denton. \u003c/p>\n\u003cp>In 1990, Oakland’s Mills College offered Liu a teaching position, and the family moved to the Bay Area, where they’ve lived ever since. In 2014, Liu became professor emeritus of painting at Mills.\u003c/p>\n\u003cfigure id=\"attachment_13901652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-768x382.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1536x765.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Strange Fruit: Comfort Women,’ 2001; Oil on canvas. \u003ccite>(Karen and Robert Duncan Collection, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Breaking Barriers for Others\u003c/h2>\n\u003cp>In addition to her paintings, Liu earned critical acclaim for conceptual artworks exploring the Chinese immigration experience and identity, such as the previously mentioned \u003ci>Resident Alien\u003c/i> and \u003ci>Jiu Jin Shan (Old Gold Mountain)\u003c/i>, a 1994 installation fashioned a mound out of 200,000 fortune cookies. Her steady stream of gallery and museum shows both nationally and abroad included a major 2013 retrospective organized by the Oakland Museum of California, \u003ci>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" rel=\"noopener noreferrer\" target=\"_blank\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/i>. She is represented locally by Rena Bransten Gallery in San Francisco.\u003c/p>\n\u003cp>Today, her works are in the collections of prestigious institutions like the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art. She made \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">national headlines\u003c/a> in 2019 when the Chinese government prevented a big solo show from going ahead at the high-profile \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a> in Beijing.\u003c/p>\n\u003cp>And she’s the first Asian American woman ever to get a solo retrospective at the National Portrait Gallery.\u003c/p>\n\u003cfigure id=\"attachment_13901654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg\" alt=\"\" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1536x1525.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Cotton Picker, 2015; Oil on canvas. \u003ccite>(Collection of Sig Anderman, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hung is one of those artists that was breaking those barriers so that people like me can be represented for what we do,” says her longtime friend, Bay Area artist \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard\u003c/a>, who’s African American. “She was one of the artists that helped us to get a place at the table.”\u003c/p>\n\u003cp>Liu’s passion for connecting with people from all walks of life extended well beyond the canvas. She is remembered by friends, colleagues, former students and family for her generosity and enthusiasm. “Mom showed her love in many ways,” says Liu’s son, LC. “She was always laughing and making jokes.”\u003c/p>\n\u003cp>“She was kind of up for everything, just ready to go,” says Trish Bransten, of \u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>.\u003c/p>\n\u003cp>Even in what could be stressful situations, like the installation of her monumentally scaled de Young exhibition, Liu stood out. “I’ve met many artists in my over 25 years of working in the arts, and she’s by far the nicest artist I ever met,” says \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young\u003c/a> technician Paul Tavian.\u003c/p>\n\u003cp>Her over two decades of teaching at Mills had a profound impact on generations of artists, some of whom say Liu forever altered the course of their lives and careers. “As a professor, she was generous and nurturing, yet firm and exacting,” says artist and former student \u003ca href=\"http://www.monicalundy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Lundy\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the Bay Area arts community mourns the sudden loss of one of its central figures, art institutions on both coasts, including SFMOMA and the de Young, are planning memorials in the coming months to further celebrate the legacy of Liu’s life and work.\u003c/p>\n\n","blocks":[],"excerpt":"The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks focused on working-class people and immigrants.","status":"publish","parent":0,"modified":1705007911,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1522},"headData":{"title":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her | KQED","description":"The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks focused on working-class people and immigrants.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hung Liu Devoted Her Career to Remembering Others, Now the Art World Remembers Her","datePublished":"2021-08-24T21:59:07.000Z","dateModified":"2024-01-11T21:18:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/197ca0c1-5431-464d-910c-ad8e01221b79/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","audioDuration":420000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors come across when they enter San Francisco’s \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a> is Oakland artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s U.S. Permanent Resident card.\u003c/p>\n\u003cp>Not the \u003cem>actual\u003c/em> artifact—but rather a colossal, painterly reproduction (itself based on \u003ci>Resident Alien\u003c/i>, an installation the artist made in 1988) that satirizes the experience of immigrating as a Chinese person to the U.S. The outsize print covers the entire back wall of the museum’s atrium. And it stops visitors like Beatrice Harrison, visiting the de Young for the first time from her home in Sacramento, in their tracks.\u003c/p>\n\u003cp>“It’s quite in your face,” Harrison says. “For a lot of folks that are just not familiar with how aliens have been treated, it’s good to see a representation.”\u003c/p>\n\u003cp>Liu died unexpectedly of pancreatic cancer earlier this month, just weeks ahead of a major, \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">career-defining retrospective\u003c/a> at the \u003ca href=\"https://npg.si.edu/home/national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">National Portrait Gallery\u003c/a> in Washington, D.C. The courageous, quietly revolutionary artist channeled her youth in Maoist China into monumental artworks that focus on working class people and immigrants.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LV8e43K2zCI'\n title='//www.youtube.com/embed/LV8e43K2zCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>“Somehow you need to make a connection with whatever your subject,” Liu told KQED in a \u003ca href=\"https://ww2.kqed.org/spark/hung-liu/\" target=\"_blank\" rel=\"noopener noreferrer\">2005 video profile\u003c/a>. “Because when you have a human figure in any photograph or painting, you always ask, you know, ‘Who’s this?’”\u003c/p>\n\u003cp>This empathy is what gives Liu’s work such power, whether focusing on Dust Bowl migrants inspired by Dorothea Lange’s Depression-era photographs, or Chinese peasants and “comfort women” recreated from photos she took or collected herself.\u003c/p>\n\u003cp>“She’s uncovering forgotten histories—those people who are at risk of being forgotten—and making sure they’re seen and visible and respected,” says \u003ca href=\"https://profiles.si.edu/display/nMossD8302011\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Moss\u003c/a>, curator of painting and sculpture at the National Portrait Gallery. “The scale is monumental. The colors are searing. The texture is dripping with linseed oil, like a veil of tears. And the faces: There’s so much humanity in the faces.”\u003c/p>\n\u003cfigure id=\"attachment_13901648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901648 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51115_EXHHL59_Migrant-Mother-Mealtime-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu’s ‘Migrant Mother: Mealtime,’ 2016 is one of many recent works inspired by the photographs of Dorothea Lange. \u003ccite>(Collection of Michael Klein/Copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Growing Up Under Communism\u003c/h2>\n\u003cp>Liu was born in 1948 in the northeastern city of Changchun. The city was soon under siege in the struggle for power between nationalist and communist armies. When Liu’s family tried to escape, the communists arrested and imprisoned her father for his nationalist ties.\u003c/p>\n\u003cp>“She was six months old,” says Liu’s husband, art critic Jeff Kelley. “And she didn’t see him again until she was 46.”\u003c/p>\n\u003cp>The communist authorities continued to dictate the terms of Liu’s existence as an educated young woman. In 1968, during the Cultural Revolution, she was sent work in the fields with other students as part of a sweeping “reeducation” program.\u003c/p>\n\u003cfigure id=\"attachment_13901649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901649 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg\" alt=\"\" width=\"800\" height=\"1059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-800x1059.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1020x1350.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-768x1017.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1160x1536.jpg 1160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut-1547x2048.jpg 1547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51112_EXHHL04_Village-Photograph-4-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Village Photograph 4 Paintbox,’ circa 1970–72. Liu photographed villagers during her four years of farm labor during the Cultural Revolution. \u003ccite>(Collection of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They worked seven days a week, 364 days a year, for four years,” says Kelley.\u003c/p>\n\u003cp>Liu, who had enjoyed painting and drawing since she was little, spent her free moments sketching scenes of country life. But the art she was interested in making—even after she was allowed to resume her studies in Beijing as an art teacher—didn’t exactly capture the revolutionary spirit.\u003c/p>\n\u003cp>“She would paint landscapes in a kind of expressive Impressionist style,” Kelley says. “And they didn’t include heroic peasants. They didn’t include the Great Leader. They didn’t include signs of industrial or agricultural progress.”\u003c/p>\n\u003cp>Liu hid the contraband landscapes under her bed—and dreamed of escape.\u003c/p>\n\u003cp>“She told me that, one time, she was working in the fields, and she saw this silver passenger jet,” Kelley says. “And she looked and thought, ‘Where is it going? And will I ever be able to go there?’”\u003c/p>\n\u003cp>After several years of petitioning the Chinese government, in 1984, Liu did manage to board a plane. She headed on scholarship to art school at \u003ca href=\"https://visarts.ucsd.edu/grad/mfa.html\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13901651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51113_EXHEE225_Hung-at-CAFA-Beijing-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu as a graduate student in Beijing, 1980. \u003ccite>(Courtesy of Hung Liu and Jeff Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, she studied with the feminist art historian Moira Roth as well as artist \u003ca href=\"https://en.wikipedia.org/wiki/Allan_Kaprow\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Kaprow\u003c/a>, who coined the term “happenings” for the influential form of performance art he helped shape in the 1950s and 60s.\u003c/p>\n\u003cp>Kelley, who met Liu while he also studying art at UC San Diego, says Kaprow’s methods were unorthodox. “He took the class out to a dumpster with a bunch of paint. And then the professor said, ‘OK, do something.’ And Hung said, ‘Do what?’”\u003c/p>\n\u003cp>Kelley says that was a pivotal moment for Liu. “That was perhaps the most defining, liberating act in her education as an artist,” Kelley says. “That art could be whatever you insisted that it was.”\u003c/p>\n\u003cp>She and Kelley married in 1986; Liu brought her son Ling Chen (LC) from her previous marriage to live with her and Kelley in the U.S. The family settled in Texas, where Kelley had a university job. Liu divided her time between making art and working a series of day jobs, such as serving as a security guard at the Kimball Museum in Fort Worth and painting labels for soup cans. She started getting gallery shows around the country and eventually landed an academic position at the University of North Texas in Denton. \u003c/p>\n\u003cp>In 1990, Oakland’s Mills College offered Liu a teaching position, and the family moved to the Bay Area, where they’ve lived ever since. In 2014, Liu became professor emeritus of painting at Mills.\u003c/p>\n\u003cfigure id=\"attachment_13901652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-800x398.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1020x508.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-768x382.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut-1536x765.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51114_EXHHL40_Strange-Fruit-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Strange Fruit: Comfort Women,’ 2001; Oil on canvas. \u003ccite>(Karen and Robert Duncan Collection, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Breaking Barriers for Others\u003c/h2>\n\u003cp>In addition to her paintings, Liu earned critical acclaim for conceptual artworks exploring the Chinese immigration experience and identity, such as the previously mentioned \u003ci>Resident Alien\u003c/i> and \u003ci>Jiu Jin Shan (Old Gold Mountain)\u003c/i>, a 1994 installation fashioned a mound out of 200,000 fortune cookies. Her steady stream of gallery and museum shows both nationally and abroad included a major 2013 retrospective organized by the Oakland Museum of California, \u003ci>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" rel=\"noopener noreferrer\" target=\"_blank\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/i>. She is represented locally by Rena Bransten Gallery in San Francisco.\u003c/p>\n\u003cp>Today, her works are in the collections of prestigious institutions like the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles County Museum of Art. She made \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">national headlines\u003c/a> in 2019 when the Chinese government prevented a big solo show from going ahead at the high-profile \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a> in Beijing.\u003c/p>\n\u003cp>And she’s the first Asian American woman ever to get a solo retrospective at the National Portrait Gallery.\u003c/p>\n\u003cfigure id=\"attachment_13901654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13901654 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg\" alt=\"\" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1020x1013.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320-1536x1525.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51116_EXHHL63_Cotton-Picker-qut-e1629755925320.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hung Liu, ‘Cotton Picker, 2015; Oil on canvas. \u003ccite>(Collection of Sig Anderman, copyright Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hung is one of those artists that was breaking those barriers so that people like me can be represented for what we do,” says her longtime friend, Bay Area artist \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\" target=\"_blank\" rel=\"noopener noreferrer\">Mildred Howard\u003c/a>, who’s African American. “She was one of the artists that helped us to get a place at the table.”\u003c/p>\n\u003cp>Liu’s passion for connecting with people from all walks of life extended well beyond the canvas. She is remembered by friends, colleagues, former students and family for her generosity and enthusiasm. “Mom showed her love in many ways,” says Liu’s son, LC. “She was always laughing and making jokes.”\u003c/p>\n\u003cp>“She was kind of up for everything, just ready to go,” says Trish Bransten, of \u003ca href=\"https://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Gallery\u003c/a>.\u003c/p>\n\u003cp>Even in what could be stressful situations, like the installation of her monumentally scaled de Young exhibition, Liu stood out. “I’ve met many artists in my over 25 years of working in the arts, and she’s by far the nicest artist I ever met,” says \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young\u003c/a> technician Paul Tavian.\u003c/p>\n\u003cp>Her over two decades of teaching at Mills had a profound impact on generations of artists, some of whom say Liu forever altered the course of their lives and careers. “As a professor, she was generous and nurturing, yet firm and exacting,” says artist and former student \u003ca href=\"http://www.monicalundy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Lundy\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the Bay Area arts community mourns the sudden loss of one of its central figures, art institutions on both coasts, including SFMOMA and the de Young, are planning memorials in the coming months to further celebrate the legacy of Liu’s life and work.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901605/hung-liu-devoted-her-career-to-remembering-others-now-the-art-world-remembers-her","authors":["8608"],"categories":["arts_1","arts_70"],"tags":["arts_1210","arts_10342","arts_10278","arts_3181","arts_2299","arts_1091"],"featImg":"arts_13901622","label":"arts"},"arts_13886781":{"type":"posts","id":"arts_13886781","meta":{"index":"posts_1591205157","site":"arts","id":"13886781","score":null,"sort":[1601079149000]},"guestAuthors":[],"slug":"californias-trailblazing-female-architect-built-lavishly-lived-simply","title":"California's First Licensed Female Architect Built Lavishly, Lived Simply","publishDate":1601079149,"format":"standard","headTitle":"California’s First Licensed Female Architect Built Lavishly, Lived Simply | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>Julia Morgan’s name might not be familiar to everyone, but some of the beautiful landmarks she left behind undoubtedly are. Hearst Castle in San Simeon stands as the most famous monument to Morgan’s boundless imagination—but across the Bay Area, \u003ca href=\"https://sf.curbed.com/maps/julia-morgan-buildings-best-sf\" target=\"_blank\" rel=\"noopener noreferrer\">her architectural fingerprints dot the landscape\u003c/a>.\u003c/p>\n\u003cp>Born in San Francisco in 1872, Morgan understood how to create grand and imposing structures without once sacrificing meticulous detail. It was a combination that forced the world to look past her gender—she was California’s first licensed female architect—and simply embrace her abilities. Her talent, coupled with a willingness to work around the clock, six days a week, made her prolific. In the first 12 years of her career alone, she completed 300 commissions, some of which were extremely prestigious.\u003c/p>\n\u003cp>Just four years after receiving her architectural license, Morgan was tasked with rebuilding the lavish (not to mention enormous) Fairmont Hotel in San Francisco’s Nob Hill. The hotel had been destroyed by the 1906 fire and the owners wanted to rebuild using the safest possible methods. They had no choice but to turn to Morgan: She had knowledge of reinforced concrete, a brand new technique, that other California architects lacked at the time. [aside postid='arts_13883118']\u003c/p>\n\u003cp>Part of the reason Morgan’s skills surpassed those of her peers was that she had studied abroad. Reinforced concrete was invented in England, but she learned about it at the prestigious École des Beaux-Arts in Paris. \u003ca href=\"http://exhibits.ced.berkeley.edu/exhibits/show/juliamorgan/early-life-and-the-ecole\" target=\"_blank\" rel=\"noopener noreferrer\">She was the first woman to ever attend the school,\u003c/a> and gaining the respect of her all-male peers was an isolating slog. Still, by all accounts, she never grumbled.\u003c/p>\n\u003cp>Though born privileged, Morgan had always been somewhat of an outsider. When she was little, she was a tomboy. In high school, where her sister and debutante classmates began to follow their prescribed paths of homemaking and high society, Morgan was obsessed only with her studies and making a mark on the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That singleminded determination gave her an adaptability that other pampered children might have lacked. In Paris, she sometimes sacrificed eating in order to buy books, steadfastly refusing to ask her parents for financial assistance. Later, when her Montgomery Street office was destroyed by the 1906 earthquake, she sketched her designs for the new and improved Fairmont in a rat-infested shack behind the hotel ruins.\u003c/p>\n\u003cp>Though she always dressed like a lady for work, Morgan was never afraid to get her hands dirty—literally. She was known on occasion to rip out tile work she deemed inadequate using only her bare hands. She also thought nothing of climbing wobbly ladders and towering scaffolding to check on building progress. One of her chief engineers, Walter Steilberg, once reported:\u003c/p>\n\u003cblockquote>\u003cp>When she reached the floor [from the scaffolding] she was quite a-glow with enthusiasm… She urged me to go up on the scaffold and see for myself. It was a fearful experience. But I went, conquering my trembling.\u003c/p>\u003c/blockquote>\n\u003cp>In the early 1920s, when Morgan was building Hearst Castle alongside William Randolph Hearst—a grueling, six-year-long process—her building site walks were particularly precarious. Her nephew, Morgan North, later recalled, “Every once in a while, when they hadn’t fenced off a stairwell or something, she would go right down to the floor below.” [aside postid='arts_13884082']\u003c/p>\n\u003cp>Morgan’s boundless appetite for work was slowed only twice in her life—by the Great Depression and World War II. And even then, it was out of practicality, rather than a lack of passion. She didn’t stop working entirely until the age of 79, and architecture had been her life’s entire focus. As such, Morgan never married and never had children, choosing instead to lavish attention and gifts on all the kids lucky enough to find themselves in her life—nieces, nephews \u003cem>and\u003c/em> the children of her employees. (At one point, she even built an elaborate playhouse for the daughter of one of her regular taxi drivers.)\u003c/p>\n\u003cp>Her nurturing side also found a place in her work. As women won the right to vote and began to forge new paths, Morgan was \u003ca href=\"https://hoodline.com/2019/02/oakland-ywca-building-a-symbol-of-julia-morgan-s-relationships-with-powerful-fellow-women\" target=\"_blank\" rel=\"noopener noreferrer\">hired to design YWCAs\u003c/a> for young women making their way in the world. She was enthusiastic about the task at hand, and expressed the desire to give the buildings as many home comforts as she could squeeze in. She worked sewing rooms, recreation rooms and even beauty parlors into her plans.\u003c/p>\n\u003cp>At a 1932 board meeting about the imminent construction of San Francisco’s YWCA—now the Clay Street Center—Morgan’s thoughtfulness was in evidence. She proposed filling a small, unused space with “little private dining rooms with little kitchenettes so that the girls can invite their friends, and cook a meal.” When a board member objected to the idea saying, “These are minimum wage girls. Why spoil them?” Julia stated plainly, “That’s just the reason.”\u003c/p>\n\u003cp>With Bay Area creations too numerous to list here, Julia Morgan’s ubiquity is fairly astonishing. In San Francisco, her spirit endures in the elegant columns of the Fairmont Hotel, and on the bronze Art Deco façade of the Hearst Building. In Berkeley, her pragmatic vision remains in the reinforced concrete of the Greek Theatre, and the redwood beams of St. John’s Presbyterian Church. And in Oakland, her eye for detail lives on in the red tile roof of the bell tower at Mills College. [aside postid='arts_13879147']\u003c/p>\n\u003cp>Morgan did not believe, she said, in “going around patting yourself on the back.” She wanted instead for her work to speak for her—and she lived by that rule for the duration of her life. Morgan never bothered to publish a book of her achievements, and she never pursued any architectural accolades. In death, however, she began receiving them regardless.\u003c/p>\n\u003cp>In 2008, Julia Morgan was inducted into the California Hall of Fame at Sacramento’s Museum for History, Women and the Arts. And in 2014, she became the first woman to \u003ca href=\"https://www.architecturalrecord.com/articles/3039-aia-awards-2014-gold-medal-to-julia-morgan\" target=\"_blank\" rel=\"noopener noreferrer\">receive a gold medal from the American Institute of Architects\u003c/a>—the organization’s highest honor. Despite the foundations she laid a century ago, Morgan currently remains the only woman to receive it, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Born in San Francisco, raised in Oakland and schooled in Paris, Julia Morgan's architectural fingerprints dot the Bay Area landscape.","status":"publish","parent":0,"modified":1705092746,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1092},"headData":{"title":"California's First Licensed Female Architect Built Lavishly, Lived Simply | KQED","description":"Born in San Francisco, raised in Oakland and schooled in Paris, Julia Morgan's architectural fingerprints dot the Bay Area landscape.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"California's First Licensed Female Architect Built Lavishly, Lived Simply","datePublished":"2020-09-26T00:12:29.000Z","dateModified":"2024-01-12T20:52:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/63cffce0-e98a-4505-8369-ac910161cdb2/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13886781/californias-trailblazing-female-architect-built-lavishly-lived-simply","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julia Morgan’s name might not be familiar to everyone, but some of the beautiful landmarks she left behind undoubtedly are. Hearst Castle in San Simeon stands as the most famous monument to Morgan’s boundless imagination—but across the Bay Area, \u003ca href=\"https://sf.curbed.com/maps/julia-morgan-buildings-best-sf\" target=\"_blank\" rel=\"noopener noreferrer\">her architectural fingerprints dot the landscape\u003c/a>.\u003c/p>\n\u003cp>Born in San Francisco in 1872, Morgan understood how to create grand and imposing structures without once sacrificing meticulous detail. It was a combination that forced the world to look past her gender—she was California’s first licensed female architect—and simply embrace her abilities. Her talent, coupled with a willingness to work around the clock, six days a week, made her prolific. In the first 12 years of her career alone, she completed 300 commissions, some of which were extremely prestigious.\u003c/p>\n\u003cp>Just four years after receiving her architectural license, Morgan was tasked with rebuilding the lavish (not to mention enormous) Fairmont Hotel in San Francisco’s Nob Hill. The hotel had been destroyed by the 1906 fire and the owners wanted to rebuild using the safest possible methods. They had no choice but to turn to Morgan: She had knowledge of reinforced concrete, a brand new technique, that other California architects lacked at the time. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13883118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the reason Morgan’s skills surpassed those of her peers was that she had studied abroad. Reinforced concrete was invented in England, but she learned about it at the prestigious École des Beaux-Arts in Paris. \u003ca href=\"http://exhibits.ced.berkeley.edu/exhibits/show/juliamorgan/early-life-and-the-ecole\" target=\"_blank\" rel=\"noopener noreferrer\">She was the first woman to ever attend the school,\u003c/a> and gaining the respect of her all-male peers was an isolating slog. Still, by all accounts, she never grumbled.\u003c/p>\n\u003cp>Though born privileged, Morgan had always been somewhat of an outsider. When she was little, she was a tomboy. In high school, where her sister and debutante classmates began to follow their prescribed paths of homemaking and high society, Morgan was obsessed only with her studies and making a mark on the world.\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>That singleminded determination gave her an adaptability that other pampered children might have lacked. In Paris, she sometimes sacrificed eating in order to buy books, steadfastly refusing to ask her parents for financial assistance. Later, when her Montgomery Street office was destroyed by the 1906 earthquake, she sketched her designs for the new and improved Fairmont in a rat-infested shack behind the hotel ruins.\u003c/p>\n\u003cp>Though she always dressed like a lady for work, Morgan was never afraid to get her hands dirty—literally. She was known on occasion to rip out tile work she deemed inadequate using only her bare hands. She also thought nothing of climbing wobbly ladders and towering scaffolding to check on building progress. One of her chief engineers, Walter Steilberg, once reported:\u003c/p>\n\u003cblockquote>\u003cp>When she reached the floor [from the scaffolding] she was quite a-glow with enthusiasm… She urged me to go up on the scaffold and see for myself. It was a fearful experience. But I went, conquering my trembling.\u003c/p>\u003c/blockquote>\n\u003cp>In the early 1920s, when Morgan was building Hearst Castle alongside William Randolph Hearst—a grueling, six-year-long process—her building site walks were particularly precarious. Her nephew, Morgan North, later recalled, “Every once in a while, when they hadn’t fenced off a stairwell or something, she would go right down to the floor below.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13884082","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morgan’s boundless appetite for work was slowed only twice in her life—by the Great Depression and World War II. And even then, it was out of practicality, rather than a lack of passion. She didn’t stop working entirely until the age of 79, and architecture had been her life’s entire focus. As such, Morgan never married and never had children, choosing instead to lavish attention and gifts on all the kids lucky enough to find themselves in her life—nieces, nephews \u003cem>and\u003c/em> the children of her employees. (At one point, she even built an elaborate playhouse for the daughter of one of her regular taxi drivers.)\u003c/p>\n\u003cp>Her nurturing side also found a place in her work. As women won the right to vote and began to forge new paths, Morgan was \u003ca href=\"https://hoodline.com/2019/02/oakland-ywca-building-a-symbol-of-julia-morgan-s-relationships-with-powerful-fellow-women\" target=\"_blank\" rel=\"noopener noreferrer\">hired to design YWCAs\u003c/a> for young women making their way in the world. She was enthusiastic about the task at hand, and expressed the desire to give the buildings as many home comforts as she could squeeze in. She worked sewing rooms, recreation rooms and even beauty parlors into her plans.\u003c/p>\n\u003cp>At a 1932 board meeting about the imminent construction of San Francisco’s YWCA—now the Clay Street Center—Morgan’s thoughtfulness was in evidence. She proposed filling a small, unused space with “little private dining rooms with little kitchenettes so that the girls can invite their friends, and cook a meal.” When a board member objected to the idea saying, “These are minimum wage girls. Why spoil them?” Julia stated plainly, “That’s just the reason.”\u003c/p>\n\u003cp>With Bay Area creations too numerous to list here, Julia Morgan’s ubiquity is fairly astonishing. In San Francisco, her spirit endures in the elegant columns of the Fairmont Hotel, and on the bronze Art Deco façade of the Hearst Building. In Berkeley, her pragmatic vision remains in the reinforced concrete of the Greek Theatre, and the redwood beams of St. John’s Presbyterian Church. And in Oakland, her eye for detail lives on in the red tile roof of the bell tower at Mills College. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13879147","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morgan did not believe, she said, in “going around patting yourself on the back.” She wanted instead for her work to speak for her—and she lived by that rule for the duration of her life. Morgan never bothered to publish a book of her achievements, and she never pursued any architectural accolades. In death, however, she began receiving them regardless.\u003c/p>\n\u003cp>In 2008, Julia Morgan was inducted into the California Hall of Fame at Sacramento’s Museum for History, Women and the Arts. And in 2014, she became the first woman to \u003ca href=\"https://www.architecturalrecord.com/articles/3039-aia-awards-2014-gold-medal-to-julia-morgan\" target=\"_blank\" rel=\"noopener noreferrer\">receive a gold medal from the American Institute of Architects\u003c/a>—the organization’s highest honor. Despite the foundations she laid a century ago, Morgan currently remains the only woman to receive it, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886781/californias-trailblazing-female-architect-built-lavishly-lived-simply","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862"],"tags":["arts_10278","arts_2299","arts_6387","arts_21841"],"featImg":"arts_13886827","label":"arts_8978"},"arts_13879301":{"type":"posts","id":"arts_13879301","meta":{"index":"posts_1591205157","site":"arts","id":"13879301","score":null,"sort":[1588108607000]},"guestAuthors":[],"slug":"5-haunted-bay-area-locations-to-scare-people-into-social-distancing","title":"5 Haunted Bay Area Locations to Scare People into Social Distancing","publishDate":1588108607,"format":"standard","headTitle":"5 Haunted Bay Area Locations to Scare People into Social Distancing | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A regency in Indonesia admitted last week to locking two people who violated self-isolation orders inside a \u003ca href=\"https://coconuts.co/jakarta/news/indonesians-quarantined-in-haunted-house-for-disobeying-self-isolation-order/\" target=\"_blank\" rel=\"noopener noreferrer\">haunted location\u003c/a> as a punishment, practical solution \u003cem>and\u003c/em> deterrent to others. Finding itself recently flooded with an influx of people from surrounding cities, Central Java’s Sragen regency took this unusual step in an effort to stem the spread of COVID-19.\u003c/p>\n\u003cp>Regent Kusdinar Untung Yuni Sukowati told \u003ca href=\"https://jateng.suara.com/read/2020/04/20/133532/ogah-karantina-mandiri-dua-warga-di-sragen-dibawa-ke-rumah-berhantu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Suara\u003c/em>\u003c/a>: “Two Plupuh residents agreed to self-isolate but they violated the order. So they were locked inside an abandoned haunted house. Had they obeyed their order they wouldn’t have been locked in there.” She was careful to emphasize that these and any future detainees would remain fed and monitored during their stays.\u003c/p>\n\u003cp>All of which makes you think. If the Bay Area employed such a policy, which haunted locations would best scare the bejesus out of shelter-in-place violators? Some suggestions…\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Alcatraz, San Francisco\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879305\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-800x533.jpg\" alt=\"Alcatraz Island.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz Island. \u003ccite>(Eric Ward/ Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look. Is it a bit harsh? Sure. But it’s secure, it’s isolated and, according to multiple sources, it’s definitely haunted. Over the years, there have been reports of \u003ca href=\"https://wildsftours.com/why-is-alcatraz-prison-in-san-francisco-haunted/\" target=\"_blank\" rel=\"noopener noreferrer\">disembodied cries\u003c/a> and moans on the island, \u003ca href=\"https://www.travelchannel.com/interests/haunted/articles/alcatraz\" target=\"_blank\" rel=\"noopener noreferrer\">mysterious banjo\u003c/a> music, as well as eerie sounds emanating from a \u003ca href=\"https://www.travelchannel.com/interests/haunted/articles/alcatraz\" target=\"_blank\" rel=\"noopener noreferrer\">utility corridor\u003c/a>. During a 2010 investigation, Syfy’s \u003cem>Ghost Hunters\u003c/em> even managed to \u003ca href=\"https://www.youtube.com/watch?v=ZwdBbZtGCkE\" target=\"_blank\" rel=\"noopener noreferrer\">capture\u003c/a> the voice of former inmate \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Brunette\" target=\"_blank\" rel=\"noopener noreferrer\">Harry Walter Brunette\u003c/a>, a notorious Depression-era bank robber.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>USS Hornet, Alameda\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13898153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/20200427_163149-1-800x519.png\" alt=\"USS Hornet: Sunny tourist attraction by day, alleged ghost party by night!\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1.png 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">USS Hornet: Sunny tourist attraction by day, alleged ghost party by night! \u003ccite>(Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What better way to get people to behave than a show of military might? This imposing aircraft carrier is a sea, air and space museum by day, but by night—in addition to hosting parties and \u003ca href=\"https://www.uss-hornet.org/hornetescape\" target=\"_blank\" rel=\"noopener noreferrer\">escape rooms\u003c/a>—it is said to be guarded by the spirits of servicemen who once lived and worked on board.\u003c/p>\n\u003cp>Docent \u003ca href=\"https://www.kalw.org/post/visit-haunted-uss-hornet-alameda#stream/0\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Fee told KALW\u003c/a> in 2018: “One particular Friday night … I’m the only one here on the ship. But about 2:30 in the morning, I woke up, because I heard the click of the nightlight at the end of the passageway. Then I heard the next nightlight click on. So I got up, opened my stateroom door, looked down the passageway, and sure enough, all the red lights were on.” If anything’s going to keep you locked in your room, it’s inexplicable lighting changes.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Claremont Hotel, Berkeley\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879323\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879323\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-800x533.jpg\" alt=\"The Claremont Hotel.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o.jpg 1621w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Claremont Hotel. \u003ccite>(Facebook/ @ClaremontHotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.fairmont.com/claremont-berkeley/\" target=\"_blank\" rel=\"noopener noreferrer\">The Claremont\u003c/a> is a sprawling, luxurious hotel complete with spa, swimming pool, gorgeous views and … some mysterious goings on. \u003ca href=\"https://www.hauntedrooms.com/california/haunted-places/haunted-hotels/claremont-hotel-berkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Guests have reported\u003c/a> weird temperature changes, seeing and hearing ghost children, and smelling smoke. (A mansion on the site burned down in 1901.)\u003c/p>\n\u003cp>When the San Antonio Spurs stayed there in 2014, basketball players Jeff Ayres and Tim Duncan both reported hearing the sounds of a baby inside Ayres’ room and being unable to unlock the door. After contacting the front desk to get a new key, the hotel decided to relocate Ayres to a different room. Duncan later \u003ca href=\"https://sports.yahoo.com/tim-duncan-and-jeff-ayres-had-a-creepy-encounter-at-a-haunted-hotel-014047063.html?y20=1\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Antonio Express-News\u003c/em>\u003c/a>: “There was a baby there, absolutely. I heard about the history of the place, and I’d rather not (stay there again).”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mills College, Oakland\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-800x533.jpg\" alt=\"Mills College, Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mills College, Oakland. \u003ccite>(Facebook/ @millscollege)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mills College: Come for the liberal arts and sciences, stay for the supernatural! No less than five buildings on the 168-year-old campus are rumored to be haunted. Over the years, there have been reports of a horse and carriage speeding along the edge of campus before vanishing into thin air, as well as disembodied footsteps on the stage at Lisser Hall. There’s even supposed to be a deceased math nerd roaming around one of the libraries, doing sleepy students’ work for them.\u003c/p>\n\u003cp>Orchard-Meadow Hall would probably work best for housing shelter-in-place violators though—it comes with a built-in guard. The ghost of a Victorian woman has been seen hanging around, particularly on the steps outside.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Phoenix Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-800x531.jpg\" alt=\"The Phoenix Theater's main hall.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Phoenix Theater’s main hall. \u003ccite>(Dominic Davi/Tsunami Bomb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a movie theater, now a music venue, the Phoenix is locally legendary for being haunted. In 2000, AFI released \u003ca href=\"https://www.youtube.com/watch?v=1a8rE6ObNSw\" target=\"_blank\" rel=\"noopener noreferrer\">a song about the venue\u003c/a> which referenced “the ghosts on the stage” and the “secret tunnels below.” Other bands can attest. In the ’90s, a security guard traveling with metal monsters GWAR reportedly expressed confusion, followed by horror, after seeing the ghost of a small boy backstage.\u003c/p>\n\u003cp>In 2014, then-venue manager \u003ca href=\"https://www.petaluma360.com/entertainment/3028155-181/phoenix-theater-hauntings?sba=AAS\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Gaffey told the \u003cem>Argus Courier\u003c/em>\u003c/a> that, while completely alone in the building, he had seen floating blue lights, heard loud footsteps and dealt with ghostly phone calls from the empty projection booth. A psychic from the Berkeley Psychic Institute is said to have removed the spirit of an angry woman from the bathrooms, but the entity in the projection booth—a tall man with white hair and angular features—apparently remains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps if locking people inside haunted buildings seems a bit cruel and unusual, Indonesia can offer a second supernatural solution to the issue of keeping people indoors. Back in March, the regency of Purworejo hired \u003ca href=\"https://coconuts.co/jakarta/news/men-dressed-as-pocong-spook-village-in-central-java-into-self-isolation/\" target=\"_blank\" rel=\"noopener noreferrer\">two people to dress as pocong\u003c/a>—\u003ca href=\"https://en.wikipedia.org/wiki/Pocong\" target=\"_blank\" rel=\"noopener noreferrer\">ghosts\u003c/a> that remain trapped in their own burial shrouds. The pair sat at the main entrance to the village of Tuk Songo to discourage visitors. Perhaps patrols of \u003ca href=\"https://winchestermysteryhouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Winchester\u003c/a> look-a-likes would be similarly effective for the Bay. Stranger things have happened.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Indonesian authorities locked people in a haunted building for breaking self-isolation rules. Here's where we could put our miscreants.","status":"publish","parent":0,"modified":1705020839,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":942},"headData":{"title":"5 Haunted Bay Area Locations to Scare People into Social Distancing | KQED","description":"Indonesian authorities locked people in a haunted building for breaking self-isolation rules. Here's where we could put our miscreants.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 Haunted Bay Area Locations to Scare People into Social Distancing","datePublished":"2020-04-28T21:16:47.000Z","dateModified":"2024-01-12T00:53:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13879301/5-haunted-bay-area-locations-to-scare-people-into-social-distancing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A regency in Indonesia admitted last week to locking two people who violated self-isolation orders inside a \u003ca href=\"https://coconuts.co/jakarta/news/indonesians-quarantined-in-haunted-house-for-disobeying-self-isolation-order/\" target=\"_blank\" rel=\"noopener noreferrer\">haunted location\u003c/a> as a punishment, practical solution \u003cem>and\u003c/em> deterrent to others. Finding itself recently flooded with an influx of people from surrounding cities, Central Java’s Sragen regency took this unusual step in an effort to stem the spread of COVID-19.\u003c/p>\n\u003cp>Regent Kusdinar Untung Yuni Sukowati told \u003ca href=\"https://jateng.suara.com/read/2020/04/20/133532/ogah-karantina-mandiri-dua-warga-di-sragen-dibawa-ke-rumah-berhantu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Suara\u003c/em>\u003c/a>: “Two Plupuh residents agreed to self-isolate but they violated the order. So they were locked inside an abandoned haunted house. Had they obeyed their order they wouldn’t have been locked in there.” She was careful to emphasize that these and any future detainees would remain fed and monitored during their stays.\u003c/p>\n\u003cp>All of which makes you think. If the Bay Area employed such a policy, which haunted locations would best scare the bejesus out of shelter-in-place violators? Some suggestions…\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Alcatraz, San Francisco\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879305\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-800x533.jpg\" alt=\"Alcatraz Island.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/eric-ward-QsJg2IuWPSE-unsplash-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz Island. \u003ccite>(Eric Ward/ Unsplash)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look. Is it a bit harsh? Sure. But it’s secure, it’s isolated and, according to multiple sources, it’s definitely haunted. Over the years, there have been reports of \u003ca href=\"https://wildsftours.com/why-is-alcatraz-prison-in-san-francisco-haunted/\" target=\"_blank\" rel=\"noopener noreferrer\">disembodied cries\u003c/a> and moans on the island, \u003ca href=\"https://www.travelchannel.com/interests/haunted/articles/alcatraz\" target=\"_blank\" rel=\"noopener noreferrer\">mysterious banjo\u003c/a> music, as well as eerie sounds emanating from a \u003ca href=\"https://www.travelchannel.com/interests/haunted/articles/alcatraz\" target=\"_blank\" rel=\"noopener noreferrer\">utility corridor\u003c/a>. During a 2010 investigation, Syfy’s \u003cem>Ghost Hunters\u003c/em> even managed to \u003ca href=\"https://www.youtube.com/watch?v=ZwdBbZtGCkE\" target=\"_blank\" rel=\"noopener noreferrer\">capture\u003c/a> the voice of former inmate \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Brunette\" target=\"_blank\" rel=\"noopener noreferrer\">Harry Walter Brunette\u003c/a>, a notorious Depression-era bank robber.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>USS Hornet, Alameda\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13898153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/20200427_163149-1-800x519.png\" alt=\"USS Hornet: Sunny tourist attraction by day, alleged ghost party by night!\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/20200427_163149-1.png 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">USS Hornet: Sunny tourist attraction by day, alleged ghost party by night! \u003ccite>(Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What better way to get people to behave than a show of military might? This imposing aircraft carrier is a sea, air and space museum by day, but by night—in addition to hosting parties and \u003ca href=\"https://www.uss-hornet.org/hornetescape\" target=\"_blank\" rel=\"noopener noreferrer\">escape rooms\u003c/a>—it is said to be guarded by the spirits of servicemen who once lived and worked on board.\u003c/p>\n\u003cp>Docent \u003ca href=\"https://www.kalw.org/post/visit-haunted-uss-hornet-alameda#stream/0\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Fee told KALW\u003c/a> in 2018: “One particular Friday night … I’m the only one here on the ship. But about 2:30 in the morning, I woke up, because I heard the click of the nightlight at the end of the passageway. Then I heard the next nightlight click on. So I got up, opened my stateroom door, looked down the passageway, and sure enough, all the red lights were on.” If anything’s going to keep you locked in your room, it’s inexplicable lighting changes.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Claremont Hotel, Berkeley\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879323\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879323\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-800x533.jpg\" alt=\"The Claremont Hotel.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/91405461_10157398378544118_3409352392548810752_o.jpg 1621w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Claremont Hotel. \u003ccite>(Facebook/ @ClaremontHotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.fairmont.com/claremont-berkeley/\" target=\"_blank\" rel=\"noopener noreferrer\">The Claremont\u003c/a> is a sprawling, luxurious hotel complete with spa, swimming pool, gorgeous views and … some mysterious goings on. \u003ca href=\"https://www.hauntedrooms.com/california/haunted-places/haunted-hotels/claremont-hotel-berkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Guests have reported\u003c/a> weird temperature changes, seeing and hearing ghost children, and smelling smoke. (A mansion on the site burned down in 1901.)\u003c/p>\n\u003cp>When the San Antonio Spurs stayed there in 2014, basketball players Jeff Ayres and Tim Duncan both reported hearing the sounds of a baby inside Ayres’ room and being unable to unlock the door. After contacting the front desk to get a new key, the hotel decided to relocate Ayres to a different room. Duncan later \u003ca href=\"https://sports.yahoo.com/tim-duncan-and-jeff-ayres-had-a-creepy-encounter-at-a-haunted-hotel-014047063.html?y20=1\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Antonio Express-News\u003c/em>\u003c/a>: “There was a baby there, absolutely. I heard about the history of the place, and I’d rather not (stay there again).”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mills College, Oakland\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-800x533.jpg\" alt=\"Mills College, Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/89381405_10158218103424359_7490912264078229504_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mills College, Oakland. \u003ccite>(Facebook/ @millscollege)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mills College: Come for the liberal arts and sciences, stay for the supernatural! No less than five buildings on the 168-year-old campus are rumored to be haunted. Over the years, there have been reports of a horse and carriage speeding along the edge of campus before vanishing into thin air, as well as disembodied footsteps on the stage at Lisser Hall. There’s even supposed to be a deceased math nerd roaming around one of the libraries, doing sleepy students’ work for them.\u003c/p>\n\u003cp>Orchard-Meadow Hall would probably work best for housing shelter-in-place violators though—it comes with a built-in guard. The ghost of a Victorian woman has been seen hanging around, particularly on the steps outside.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Phoenix Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-800x531.jpg\" alt=\"The Phoenix Theater's main hall.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/36199715_2112186705689111_1866427602399395840_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Phoenix Theater’s main hall. \u003ccite>(Dominic Davi/Tsunami Bomb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once a movie theater, now a music venue, the Phoenix is locally legendary for being haunted. In 2000, AFI released \u003ca href=\"https://www.youtube.com/watch?v=1a8rE6ObNSw\" target=\"_blank\" rel=\"noopener noreferrer\">a song about the venue\u003c/a> which referenced “the ghosts on the stage” and the “secret tunnels below.” Other bands can attest. In the ’90s, a security guard traveling with metal monsters GWAR reportedly expressed confusion, followed by horror, after seeing the ghost of a small boy backstage.\u003c/p>\n\u003cp>In 2014, then-venue manager \u003ca href=\"https://www.petaluma360.com/entertainment/3028155-181/phoenix-theater-hauntings?sba=AAS\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Gaffey told the \u003cem>Argus Courier\u003c/em>\u003c/a> that, while completely alone in the building, he had seen floating blue lights, heard loud footsteps and dealt with ghostly phone calls from the empty projection booth. A psychic from the Berkeley Psychic Institute is said to have removed the spirit of an angry woman from the bathrooms, but the entity in the projection booth—a tall man with white hair and angular features—apparently remains.\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>Perhaps if locking people inside haunted buildings seems a bit cruel and unusual, Indonesia can offer a second supernatural solution to the issue of keeping people indoors. Back in March, the regency of Purworejo hired \u003ca href=\"https://coconuts.co/jakarta/news/men-dressed-as-pocong-spook-village-in-central-java-into-self-isolation/\" target=\"_blank\" rel=\"noopener noreferrer\">two people to dress as pocong\u003c/a>—\u003ca href=\"https://en.wikipedia.org/wiki/Pocong\" target=\"_blank\" rel=\"noopener noreferrer\">ghosts\u003c/a> that remain trapped in their own burial shrouds. The pair sat at the main entrance to the village of Tuk Songo to discourage visitors. Perhaps patrols of \u003ca href=\"https://winchestermysteryhouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Winchester\u003c/a> look-a-likes would be similarly effective for the Bay. Stranger things have happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13879301/5-haunted-bay-area-locations-to-scare-people-into-social-distancing","authors":["11242"],"categories":["arts_1","arts_75"],"tags":["arts_14353","arts_10278","arts_12528","arts_2299","arts_6387","arts_10822","arts_1526"],"featImg":"arts_13879328","label":"arts"},"arts_13871311":{"type":"posts","id":"arts_13871311","meta":{"index":"posts_1591205157","site":"arts","id":"13871311","score":null,"sort":[1576094434000]},"guestAuthors":[],"slug":"mills-college-to-sell-shakespeare-first-folio-mozart-manuscript-amid-budget-woes","title":"Mills College to Sell Shakespeare First Folio, Mozart Manuscript Amid Budget Woes","publishDate":1576094434,"format":"standard","headTitle":"Mills College to Sell Shakespeare First Folio, Mozart Manuscript Amid Budget Woes | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. [aside postID=arts_13870226,arts_12248119,arts_13389908]\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n","blocks":[],"excerpt":"The sales, expected to fetch millions, continue the Oakland private college administration’s attempts to overcome a budget deficit. ","status":"publish","parent":0,"modified":1705021691,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1009},"headData":{"title":"Mills College to Sell Shakespeare First Folio, Mozart Manuscript Amid Budget Woes | KQED","description":"The sales, expected to fetch millions, continue the Oakland private college administration’s attempts to overcome a budget deficit. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mills College to Sell Shakespeare First Folio, Mozart Manuscript Amid Budget Woes","datePublished":"2019-12-11T20:00:34.000Z","dateModified":"2024-01-12T01:08:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871311/mills-college-to-sell-shakespeare-first-folio-mozart-manuscript-amid-budget-woes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13870226,arts_12248119,arts_13389908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\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>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871311/mills-college-to-sell-shakespeare-first-folio-mozart-manuscript-amid-budget-woes","authors":["11091"],"categories":["arts_1","arts_73","arts_835","arts_235","arts_967"],"tags":["arts_7705","arts_15393","arts_1118","arts_2299","arts_746","arts_596","arts_2087"],"featImg":"arts_13871314","label":"arts"},"arts_13870226":{"type":"posts","id":"arts_13870226","meta":{"index":"posts_1591205157","site":"arts","id":"13870226","score":null,"sort":[1574452836000]},"guestAuthors":[],"slug":"staff-at-mills-college-recovering-from-budget-crisis-follow-faculty-in-union-campaign","title":"Staff at Mills College, Recovering From Budget Crisis, Follow Faculty in Union Campaign","publishDate":1574452836,"format":"standard","headTitle":"Staff at Mills College, Recovering From Budget Crisis, Follow Faculty in Union Campaign | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Staff at Mills College are following in the footsteps of the Oakland liberal arts institution’s adjunct faculty members by unionizing as part of a broader organized labor trend in Bay Area higher education. [aside postID=arts_13855321,arts_12248119,arts_13389908] \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n","blocks":[],"excerpt":"The campaign continues an organized labor trend in Bay Area higher education.","status":"publish","parent":0,"modified":1705021787,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":855},"headData":{"title":"Staff at Mills College, Recovering From Budget Crisis, Follow Faculty in Union Campaign | KQED","description":"The campaign continues an organized labor trend in Bay Area higher education.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Staff at Mills College, Recovering From Budget Crisis, Follow Faculty in Union Campaign","datePublished":"2019-11-22T20:00:36.000Z","dateModified":"2024-01-12T01:09:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13870226/staff-at-mills-college-recovering-from-budget-crisis-follow-faculty-in-union-campaign","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Staff at Mills College are following in the footsteps of the Oakland liberal arts institution’s adjunct faculty members by unionizing as part of a broader organized labor trend in Bay Area higher education. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13855321,arts_12248119,arts_13389908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \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>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870226/staff-at-mills-college-recovering-from-budget-crisis-follow-faculty-in-union-campaign","authors":["11091"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_5936","arts_1118","arts_2639","arts_2299","arts_746","arts_596","arts_1143","arts_21264"],"featImg":"arts_13870228","label":"arts"},"arts_13860957":{"type":"posts","id":"arts_13860957","meta":{"index":"posts_1591205157","site":"arts","id":"13860957","score":null,"sort":[1564498822000]},"guestAuthors":[],"slug":"the-hustle-stephanie-hewett-dance","title":"How Stephanie Hewett Found Her Financial Footing in the Bay Area Dance Scene","publishDate":1564498822,"format":"image","headTitle":"How Stephanie Hewett Found Her Financial Footing in the Bay Area Dance Scene | KQED","labelTerm":{"term":4525,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.stephanie-hewett.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Stephanie Hewett\u003c/a>’s story is a classic Bay Area artist experience of constant hustles, side gigs, long rides on public transportation—and finally, her body telling her to slow down.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $600/month\u003c/li>\n\u003cli>Day job: $33,000/year\u003c/li>\n\u003cli>Dance work: $300–$1,000/month\u003c/li>\n\u003cli>Car insurance: $100/month\u003c/li>\n\u003cli>School loans: $250/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>In order to shorten her commute from Oakland to the College of San Mateo, where Hewett worked in 2018 as adjunct faculty in the dance department, filling in for a teacher on parental leave, the performer and choreographer needed a car. But in order to buy a car, she needed to work seven days a week for six months to save up the money. And before she bought that car, she had to find the time to learn to drive.\u003c/p>\n\u003cp>Growing up in the Bronx, driving wasn’t a skill Hewett needed until she graduated from Mills with her MFA in dance and found herself teaching 40 miles away from her Oakland home.\u003c/p>\n\u003cp>So for three months after she started teaching, and before she bought her own wheels, Hewett commuted almost two hours each way, Monday through Friday, to San Mateo. “I would have to take a bus to the Coliseum BART, then BART to Hayward, then take a bus from Hayward to Foster City, and then take a bus from Foster City to San Mateo,” she says. “It was rough.”\u003c/p>\n\u003ch2>Paying the price of not slowing down\u003c/h2>\n\u003cp>For many recent graduates of an MFA program, landing a full-time (though temporary) gig teaching pilates, yoga and ballet at a Bay Area community college might sound like a dream fulfilled. But Hewett says the schedule—even after she cut her commute in half by driving—proved grueling. \u003c/p>\n\u003cp>Ultimately, what prevented Hewett from maintaining her untenable regimen of teaching, performing and commuting was her very own body. She sprained her ankle while performing at YBCA in June 2018, then continued to dance on it while rehearsing for a November performance in San Francisco’s City Hall, \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener noreferrer\" target=\"_blank\">an event\u003c/a> with Oakland artist Sofía Córdova. \u003c/p>\n\u003cfigure id=\"attachment_13860992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg\" alt=\"Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By sheer luck, as Hewett was struggling to maintain her schedule while injured, the Mills dance department reached out offering her a full-time job as an administrative assistant. Even teaching five days a week, her adjunct position at College of San Mateo meant she didn’t have any health insurance. “I didn’t have security,” she says. “All my money was from teaching.”\u003c/p>\n\u003cp>Hewett accepted Mills’ offer. “I never imagined myself doing that,” she remembers, “but the timing was kind of perfect because I was hurting myself by not stopping and not slowing down.”\u003c/p>\n\u003ch2>Finding support in the Bay Area dance scene\u003c/h2>\n\u003cp>Now, Hewett makes about $33,000 a year at Mills—and has health insurance. In addition to that steady income, she brings in anywhere between $300 and $1,000 a month from her practice. This includes performing in collaboration with visual artists (like the City Hall event) or independently at events, and teaching workshops.\u003c/p>\n\u003cp>Most recently, Hewett has done audio describing work for audience members with visual impairments, through the dance company \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\" rel=\"noopener noreferrer\" target=\"_blank\">Jess Curtis/Gravity\u003c/a>. Hewett describes actions, costumes, setting, gestures, facial expressions and objects into a muffled microphone for audience members wearing wireless headsets.\u003c/p>\n\u003cp>“This is something that not a lot of dance companies or performance and theater companies are doing,” Hewett says. “So Jess is really hoping that folks will take these services seriously and provide them for their audiences.”\u003c/p>\n\u003cfigure id=\"attachment_13860991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg\" alt=\"Hewett's laptop.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett’s laptop. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her own practice, Hewett is part of the Bay Area collective Lxs Dxs (pronounced “lex dex”), a six-person group of emerging movement artists and choreographers (jose e abad, Gabriel Christian, Felix Sol Linck-Frenz, Hewett, Emelia Martínez Brumbaugh and randy reyes) who met during CounterPulse’s \u003ca href=\"http://counterpulse.org/event/performing-diaspora-residency-2017-2-2/\" rel=\"noopener noreferrer\" target=\"_blank\">Performing Diaspora residency\u003c/a> in December 2017. \u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>“We all have our different practices that we bring together,” she says. “Some people are more interested in storytelling, some people are more interested in video work or ritual practice or drag.” The group has performed together several times since forming, thanks to residencies at Rancho 2y2 in Veracruz, Mexico, and at CSU San Marcos (the artists were able to pay for about half of their travel costs with money earned from past residencies and performances; the rest they paid out of pocket). Most recently, Lxs Dxs was invited to perform as part of CounterPulse’s May fundraising gala, receiving a $300 honorarium they split six ways. \u003c/p>\n\u003cp>Creating new work is only possible, Hewett notes, if Lxs Dxs can access free rehearsal space—as they did when preparing for CounterPulse’s gala. “It’s hard to meet weekly when we don’t have our own space,” she says. And at this point, it’s just not a financial possibility for the collaborative: “That would require us paying for space and then not being able to pay ourselves for the time.” Bay Area rehearsal spaces cost about $15 to $20 an hour. \u003c/p>\n\u003cp>The support of organizations like CounterPulse has been a major part of Hewett’s Bay Area career. In addition to collaborating with Reyes during his Performing Diaspora residency, Hewett was awarded the Edge residency, CounterPulse’s commissioning program for contemporary choreographers. That residency culminated in her production \u003ci>\u003ca href=\"http://counterpulse.org/event/edge2019/\" rel=\"noopener noreferrer\" target=\"_blank\">/soft/c/\u003c/a>\u003c/i> in April 2019, for which Hewett received a $700 co-production grant from the dance company \u003ca href=\"http://factsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">FACT/SF\u003c/a>. Charles Slender-White, FACT/SF’s artistic director, later invited her to join his nascent fiscal sponsorship program. \u003c/p>\n\u003cfigure id=\"attachment_13860994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg\" alt=\"Hewett at home in Oakland.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett at home in Oakland. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With fiscal sponsorship, Hewett is eligible to apply for funds only available to nonprofits. In the future, if Hewett receives grants through FACT/SF, the organization will take five percent of all awarded money as an administrative fee. (Other local fiscal sponsorship programs, like \u003ca href=\"https://dancersgroup.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancers’ Group\u003c/a> and \u003ca href=\"https://theintersection.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Intersection for the Arts\u003c/a>, take ten percent.) \u003c/p>\n\u003cp>[pullquote size='medium' citation='Stephanie Hewett']‘I refuse to have collaborators and not pay them.’[/pullquote]\u003c/p>\n\u003cp>Hewett is one of just two initial recipients of FACT/SF’s fiscal sponsorship program. “I see her work as having a lot of promise,” says Slender-White of Hewett. “I think her voice and aesthetic in the region is unique and interesting. She also seems to approach craft with a level of rigor that I personally find very satisfying.”\u003c/p>\n\u003cp>Hewett says the financial realities of managing a dance company, getting fiscal sponsorship and making it all work in the Bay Area wasn’t the focus during her grad program at Mills: “You put a lot of money into it and you have all this space and time to experiment and decide what it is that you want to say and how to say it.” Which was great, Hewett says, but it means learning how to navigate the wider world of arts funding after grad school, through word of mouth and cohort networks. \u003c/p>\n\u003ch2>Expanding her practice\u003c/h2>\n\u003cp>Meanwhile, Hewett keeps her expenses fairly low. She has two roommates and pays $600 a month in rent. On top of that she spends $100 a month on car insurance and $250 a month on grad school loans. The only purchases she makes that could possibly be described as impulsive or extraneous are the props and materials she hoards for future projects.\u003c/p>\n\u003cp>Hewett says her relationship to money definitely impacts how often she produces shows and what kind of scale she’s able to attain in her work. “I can’t produce work all the time because I don’t have the resources to do that,” she says. “And I also refuse to have collaborators and not pay them. So most of the time I end up making a lot of solo work, which also requires money, but not as much money.”\u003c/p>\n\u003cfigure id=\"attachment_13860993\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg\" alt=\"An altar of mementos in Hewett's Oakland home.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An altar of mementos in Hewett’s Oakland home. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003ci>/soft/c/\u003c/i>, for example, Hewett paid two dancers to perform, hired an artist to create live projections during the show and commissioned new work from a composer. CounterPulse provides $1,500 in artist fees and $1,000 in production fees to recipients of the Edge residency; Hewett ended up paying $2,000 out of pocket to her dancers and collaborators.\u003c/p>\n\u003cp>For now, producing one major piece a year is finally feasible for Hewett. She has a slate of residencies and performances scheduled through October, and her practice is changing. Because of her injury, she’s exploring other mediums. “I’ve been dabbling in music composition, video projection, storytelling with voice. I would say I’m very much multidisciplinary,” she sums up. She’s learning how to mix music and DJ—another expenditure she’s now saving up for. \u003c/p>\n\u003cp>So far, Hewett’s been able to stay in the Bay Area, provided with the opportunities and support she hoped to find after grad school. “I really enjoy it here, especially in Oakland,” she says. “I love the communities that I’ve created and that I’m in. As long as I can keep making money or keep being awarded these grants, and people can believe in my work and pay me to make the work, I think it can happen.” \u003c/p>\n\u003cp>“But if anything shifts,” she adds, “I’m open to leaving.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"When Stephanie Hewett's body told her to slow down, her practice—and her day job—needed to change.","status":"publish","parent":0,"modified":1705022445,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1698},"headData":{"title":"How Stephanie Hewett Found Her Financial Footing in the Bay Area Dance Scene | KQED","description":"When Stephanie Hewett's body told her to slow down, her practice—and her day job—needed to change.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Stephanie Hewett Found Her Financial Footing in the Bay Area Dance Scene","datePublished":"2019-07-30T15:00:22.000Z","dateModified":"2024-01-12T01:20:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13860957/the-hustle-stephanie-hewett-dance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.stephanie-hewett.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Stephanie Hewett\u003c/a>’s story is a classic Bay Area artist experience of constant hustles, side gigs, long rides on public transportation—and finally, her body telling her to slow down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $600/month\u003c/li>\n\u003cli>Day job: $33,000/year\u003c/li>\n\u003cli>Dance work: $300–$1,000/month\u003c/li>\n\u003cli>Car insurance: $100/month\u003c/li>\n\u003cli>School loans: $250/month\u003c/li>\n\u003c/ul>\n\u003cp>","name":"pullquote","attributes":{"named":{"align":"right","size":"small","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In order to shorten her commute from Oakland to the College of San Mateo, where Hewett worked in 2018 as adjunct faculty in the dance department, filling in for a teacher on parental leave, the performer and choreographer needed a car. But in order to buy a car, she needed to work seven days a week for six months to save up the money. And before she bought that car, she had to find the time to learn to drive.\u003c/p>\n\u003cp>Growing up in the Bronx, driving wasn’t a skill Hewett needed until she graduated from Mills with her MFA in dance and found herself teaching 40 miles away from her Oakland home.\u003c/p>\n\u003cp>So for three months after she started teaching, and before she bought her own wheels, Hewett commuted almost two hours each way, Monday through Friday, to San Mateo. “I would have to take a bus to the Coliseum BART, then BART to Hayward, then take a bus from Hayward to Foster City, and then take a bus from Foster City to San Mateo,” she says. “It was rough.”\u003c/p>\n\u003ch2>Paying the price of not slowing down\u003c/h2>\n\u003cp>For many recent graduates of an MFA program, landing a full-time (though temporary) gig teaching pilates, yoga and ballet at a Bay Area community college might sound like a dream fulfilled. But Hewett says the schedule—even after she cut her commute in half by driving—proved grueling. \u003c/p>\n\u003cp>Ultimately, what prevented Hewett from maintaining her untenable regimen of teaching, performing and commuting was her very own body. She sprained her ankle while performing at YBCA in June 2018, then continued to dance on it while rehearsing for a November performance in San Francisco’s City Hall, \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener noreferrer\" target=\"_blank\">an event\u003c/a> with Oakland artist Sofía Córdova. \u003c/p>\n\u003cfigure id=\"attachment_13860992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg\" alt=\"Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By sheer luck, as Hewett was struggling to maintain her schedule while injured, the Mills dance department reached out offering her a full-time job as an administrative assistant. Even teaching five days a week, her adjunct position at College of San Mateo meant she didn’t have any health insurance. “I didn’t have security,” she says. “All my money was from teaching.”\u003c/p>\n\u003cp>Hewett accepted Mills’ offer. “I never imagined myself doing that,” she remembers, “but the timing was kind of perfect because I was hurting myself by not stopping and not slowing down.”\u003c/p>\n\u003ch2>Finding support in the Bay Area dance scene\u003c/h2>\n\u003cp>Now, Hewett makes about $33,000 a year at Mills—and has health insurance. In addition to that steady income, she brings in anywhere between $300 and $1,000 a month from her practice. This includes performing in collaboration with visual artists (like the City Hall event) or independently at events, and teaching workshops.\u003c/p>\n\u003cp>Most recently, Hewett has done audio describing work for audience members with visual impairments, through the dance company \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\" rel=\"noopener noreferrer\" target=\"_blank\">Jess Curtis/Gravity\u003c/a>. Hewett describes actions, costumes, setting, gestures, facial expressions and objects into a muffled microphone for audience members wearing wireless headsets.\u003c/p>\n\u003cp>“This is something that not a lot of dance companies or performance and theater companies are doing,” Hewett says. “So Jess is really hoping that folks will take these services seriously and provide them for their audiences.”\u003c/p>\n\u003cfigure id=\"attachment_13860991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg\" alt=\"Hewett's laptop.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett’s laptop. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her own practice, Hewett is part of the Bay Area collective Lxs Dxs (pronounced “lex dex”), a six-person group of emerging movement artists and choreographers (jose e abad, Gabriel Christian, Felix Sol Linck-Frenz, Hewett, Emelia Martínez Brumbaugh and randy reyes) who met during CounterPulse’s \u003ca href=\"http://counterpulse.org/event/performing-diaspora-residency-2017-2-2/\" rel=\"noopener noreferrer\" target=\"_blank\">Performing Diaspora residency\u003c/a> in December 2017. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Side Gigs and Successes ","link1":"https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.","target":"_blank"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We all have our different practices that we bring together,” she says. “Some people are more interested in storytelling, some people are more interested in video work or ritual practice or drag.” The group has performed together several times since forming, thanks to residencies at Rancho 2y2 in Veracruz, Mexico, and at CSU San Marcos (the artists were able to pay for about half of their travel costs with money earned from past residencies and performances; the rest they paid out of pocket). Most recently, Lxs Dxs was invited to perform as part of CounterPulse’s May fundraising gala, receiving a $300 honorarium they split six ways. \u003c/p>\n\u003cp>Creating new work is only possible, Hewett notes, if Lxs Dxs can access free rehearsal space—as they did when preparing for CounterPulse’s gala. “It’s hard to meet weekly when we don’t have our own space,” she says. And at this point, it’s just not a financial possibility for the collaborative: “That would require us paying for space and then not being able to pay ourselves for the time.” Bay Area rehearsal spaces cost about $15 to $20 an hour. \u003c/p>\n\u003cp>The support of organizations like CounterPulse has been a major part of Hewett’s Bay Area career. In addition to collaborating with Reyes during his Performing Diaspora residency, Hewett was awarded the Edge residency, CounterPulse’s commissioning program for contemporary choreographers. That residency culminated in her production \u003ci>\u003ca href=\"http://counterpulse.org/event/edge2019/\" rel=\"noopener noreferrer\" target=\"_blank\">/soft/c/\u003c/a>\u003c/i> in April 2019, for which Hewett received a $700 co-production grant from the dance company \u003ca href=\"http://factsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">FACT/SF\u003c/a>. Charles Slender-White, FACT/SF’s artistic director, later invited her to join his nascent fiscal sponsorship program. \u003c/p>\n\u003cfigure id=\"attachment_13860994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg\" alt=\"Hewett at home in Oakland.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett at home in Oakland. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With fiscal sponsorship, Hewett is eligible to apply for funds only available to nonprofits. In the future, if Hewett receives grants through FACT/SF, the organization will take five percent of all awarded money as an administrative fee. (Other local fiscal sponsorship programs, like \u003ca href=\"https://dancersgroup.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancers’ Group\u003c/a> and \u003ca href=\"https://theintersection.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Intersection for the Arts\u003c/a>, take ten percent.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I refuse to have collaborators and not pay them.’","name":"pullquote","attributes":{"named":{"size":"medium","citation":"Stephanie Hewett","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hewett is one of just two initial recipients of FACT/SF’s fiscal sponsorship program. “I see her work as having a lot of promise,” says Slender-White of Hewett. “I think her voice and aesthetic in the region is unique and interesting. She also seems to approach craft with a level of rigor that I personally find very satisfying.”\u003c/p>\n\u003cp>Hewett says the financial realities of managing a dance company, getting fiscal sponsorship and making it all work in the Bay Area wasn’t the focus during her grad program at Mills: “You put a lot of money into it and you have all this space and time to experiment and decide what it is that you want to say and how to say it.” Which was great, Hewett says, but it means learning how to navigate the wider world of arts funding after grad school, through word of mouth and cohort networks. \u003c/p>\n\u003ch2>Expanding her practice\u003c/h2>\n\u003cp>Meanwhile, Hewett keeps her expenses fairly low. She has two roommates and pays $600 a month in rent. On top of that she spends $100 a month on car insurance and $250 a month on grad school loans. The only purchases she makes that could possibly be described as impulsive or extraneous are the props and materials she hoards for future projects.\u003c/p>\n\u003cp>Hewett says her relationship to money definitely impacts how often she produces shows and what kind of scale she’s able to attain in her work. “I can’t produce work all the time because I don’t have the resources to do that,” she says. “And I also refuse to have collaborators and not pay them. So most of the time I end up making a lot of solo work, which also requires money, but not as much money.”\u003c/p>\n\u003cfigure id=\"attachment_13860993\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg\" alt=\"An altar of mementos in Hewett's Oakland home.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An altar of mementos in Hewett’s Oakland home. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003ci>/soft/c/\u003c/i>, for example, Hewett paid two dancers to perform, hired an artist to create live projections during the show and commissioned new work from a composer. CounterPulse provides $1,500 in artist fees and $1,000 in production fees to recipients of the Edge residency; Hewett ended up paying $2,000 out of pocket to her dancers and collaborators.\u003c/p>\n\u003cp>For now, producing one major piece a year is finally feasible for Hewett. She has a slate of residencies and performances scheduled through October, and her practice is changing. Because of her injury, she’s exploring other mediums. “I’ve been dabbling in music composition, video projection, storytelling with voice. I would say I’m very much multidisciplinary,” she sums up. She’s learning how to mix music and DJ—another expenditure she’s now saving up for. \u003c/p>\n\u003cp>So far, Hewett’s been able to stay in the Bay Area, provided with the opportunities and support she hoped to find after grad school. “I really enjoy it here, especially in Oakland,” she says. “I love the communities that I’ve created and that I’m in. As long as I can keep making money or keep being awarded these grants, and people can believe in my work and pay me to make the work, I think it can happen.” \u003c/p>\n\u003cp>“But if anything shifts,” she adds, “I’m open to leaving.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13860957/the-hustle-stephanie-hewett-dance","authors":["61"],"series":["arts_4525"],"categories":["arts_1","arts_835","arts_966","arts_235"],"tags":["arts_1018","arts_879","arts_1118","arts_2299","arts_596","arts_4213"],"featImg":"arts_13860995","label":"arts_4525"},"arts_13853919":{"type":"posts","id":"arts_13853919","meta":{"index":"posts_1591205157","site":"arts","id":"13853919","score":null,"sort":[1553886464000]},"guestAuthors":[],"slug":"rightnowish-stepping-inside-chris-frasers-pinhole-camera","title":"Rightnowish: Stepping Inside Chris Fraser's Pinhole Camera","publishDate":1553886464,"format":"audio","headTitle":"Rightnowish: Stepping Inside Chris Fraser’s Pinhole Camera | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>Chris Fraser is a trained photographer who’s taken his craft to another dimension: for his current exhibition \u003cem>Windows\u003c/em>, he invites attendees to step inside of a pinhole camera.\u003c/p>\n\u003cp>I first met \u003ca href=\"http://www.chrisfraserstudio.com/\">Chris\u003c/a> at a birthday party where most of the attendees were African American. Chris, a tall white guy with glasses, stood out from the crowd. After being introduced, we talked a bit about his artwork, and he attempted to explain his creation as best he could. (I say “attempted” because you can imagine how hard it is to explain an immersive pinhole camera while a bunch of toddlers run circles around your conversation.)\u003c/p>\n\u003cfigure id=\"attachment_13853924\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg\" alt=\"Chris Fraser in the shadows\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser, in the shadows. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later, Chris, who’s also a father of a young child, found time to talk over the phone. He told me how he spent time in nearly every part of California before settling in Oakland, where he works as a part-time teacher at Mills College. In addition to being an educator, he practices photography, but his latest expression of the craft is more about constructing contraptions than creating photos.\u003c/p>\n\u003cp>Chris uses natural light beamed through the wooden slats found inside the plaster walls of old houses—a material called lath. As the earth moves, the sun’s beams shine through the crevices of the lath, creating small circular images on the ground of the gallery that look almost like the sun itself.\u003c/p>\n\u003cfigure id=\"attachment_13853921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg\" alt=\"Chris Fraser's latest installation\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser’s latest installation. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris explained how this act of art toes the line of science and spirituality. To hear our full conversation, check out the audio link above—or, better yet, see it for yourself. \u003cem>Windows\u003c/em> runs through April 21 at the Royal Nonesuch Gallery in Oakland. \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Listen to the Oakland photographer explain his work with wooden lath from the walls of old houses.","status":"publish","parent":0,"modified":1705026410,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":299},"headData":{"title":"Rightnowish: Stepping Inside Chris Fraser's Pinhole Camera | KQED","description":"Listen to the Oakland photographer explain his work with wooden lath from the walls of old houses.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rightnowish: Stepping Inside Chris Fraser's Pinhole Camera","datePublished":"2019-03-29T19:07:44.000Z","dateModified":"2024-01-12T02:26:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/rightnowish/2019/06/RightnowishEp6ChrisFraserWeb.mp3","sticky":false,"audioTrackLength":254,"path":"/arts/13853919/rightnowish-stepping-inside-chris-frasers-pinhole-camera","audioDuration":254000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chris Fraser is a trained photographer who’s taken his craft to another dimension: for his current exhibition \u003cem>Windows\u003c/em>, he invites attendees to step inside of a pinhole camera.\u003c/p>\n\u003cp>I first met \u003ca href=\"http://www.chrisfraserstudio.com/\">Chris\u003c/a> at a birthday party where most of the attendees were African American. Chris, a tall white guy with glasses, stood out from the crowd. After being introduced, we talked a bit about his artwork, and he attempted to explain his creation as best he could. (I say “attempted” because you can imagine how hard it is to explain an immersive pinhole camera while a bunch of toddlers run circles around your conversation.)\u003c/p>\n\u003cfigure id=\"attachment_13853924\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg\" alt=\"Chris Fraser in the shadows\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Image-from-iOS.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser, in the shadows. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later, Chris, who’s also a father of a young child, found time to talk over the phone. He told me how he spent time in nearly every part of California before settling in Oakland, where he works as a part-time teacher at Mills College. In addition to being an educator, he practices photography, but his latest expression of the craft is more about constructing contraptions than creating photos.\u003c/p>\n\u003cp>Chris uses natural light beamed through the wooden slats found inside the plaster walls of old houses—a material called lath. As the earth moves, the sun’s beams shine through the crevices of the lath, creating small circular images on the ground of the gallery that look almost like the sun itself.\u003c/p>\n\u003cfigure id=\"attachment_13853921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg\" alt=\"Chris Fraser's latest installation\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/LRG__DSC3379.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Fraser’s latest installation. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris explained how this act of art toes the line of science and spirituality. To hear our full conversation, check out the audio link above—or, better yet, see it for yourself. \u003cem>Windows\u003c/em> runs through April 21 at the Royal Nonesuch Gallery in Oakland. \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853919/rightnowish-stepping-inside-chris-frasers-pinhole-camera","authors":["11491"],"programs":["arts_8720"],"categories":["arts_21759","arts_70"],"tags":["arts_820","arts_1118","arts_2299","arts_596","arts_1143","arts_822","arts_6764","arts_973"],"featImg":"arts_13853940","label":"arts_8720"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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