Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control
West Bay Opera's 'La bohème' Moves Starving Artists from Paris to San Francisco
The Hustle: A Snapshot of Artists' Money in the Bay Area
Bay Area Artists, We Want to Know: What's Your Hustle?
An Artist With Four Jobs and a 380-Mile Weekly Commute
Doin' the DAM Thing in the Bay Area
Priced Out: San Francisco's Changing Values and Artist Exodus
Priced Out: Saying Good-bye to the Myth of San Francisco
Sponsored
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Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"slefebvre":{"type":"authors","id":"11091","meta":{"index":"authors_1591205172","id":"11091","found":true},"name":"Sam Lefebvre","firstName":"Sam","lastName":"Lefebvre","slug":"slefebvre","email":"sdlefebvre@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.","avatar":"https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g","twitter":"Lefebvre_Sam","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["author"]}],"headData":{"title":"Sam Lefebvre | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/slefebvre"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1591205172","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is the host of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em>\u003c/a> on KQED-FM, a columnist at KQED Arts, and the author of \u003ci>OG Told Me,\u003c/i> a memoir about growing up in Oakland.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal 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FM","link":"/"}},"arts_13850732":{"type":"posts","id":"arts_13850732","meta":{"index":"posts_1591205157","site":"arts","id":"13850732","score":null,"sort":[1550505623000]},"guestAuthors":[],"slug":"spurred-by-possible-sale-vulcan-arts-lofts-tenants-rally-for-rent-control","title":"Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control","publishDate":1550505623,"format":"standard","headTitle":"Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“Is this your whip?”\u003c/p>\n\u003cp>Andrew Pulkrabek was on the dancefloor of his neighbor Bri Crabtree’s loft at the Vulcan, a sprawling live-work community of some 200 residents in East Oakland, inspecting a hot-pink whip. Mirrors lined a wall near the storage nook known as “clown corner,” all beneath the vaulted ceilings that accommodate Crabtree’s weekly juggling club. Confidently, Pulkrabek cracked the whip. “Not my first rodeo,” he said.\u003c/p>\n\u003cp>Pulkrabek is a musician and a stuntman, a juggler and a roller-skater—an “entertainer,” he said—whose residence in the Vulcan, a onetime foundry in the Fruitvale district, provides necessary space for his multi-hyphenate circus arts practice. At his kitchen table, overlooking another mirror-lined dancefloor, Pulkrabek stressed the significance of the Vulcan to Burning Man-associated artists internationally.\u003c/p>\n\u003cp>“It’s probably the largest concentration of circus performers living and working under one roof,” he said, adding that there’s “without a doubt” more jugglers in residence than anywhere.\u003c/p>\n\u003cp>Lately, though, Pulkrabek has met plenty of his non-Burner neighbors. He’s an organizer of the Vulcan Tenants Union, which formed after the property, owned by politically connected developer Madison Park Financial, hit the market last year for $16,250,000. Now, the union, representing approximately 100 tenants, is working with attorneys and a private investigator to acquire rent-control protections. They say dozens of homes and workspaces are on the line.\u003c/p>\n\u003cfigure id=\"attachment_13850955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg\" alt=\"Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time of skyhigh housing costs and intense competition for performing arts-appropriate space in Oakland, the tenants union hopes to preserve a longtime live-work community for artists and craftspeople dependent on its relative affordability, high ceilings and communal ambiance. Sale to a commercial investor, they say, means near-certain displacement, and they point to Madison Park’s own marketing materials as proof.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Madison Park’s offering memorandum for investors, acquired by KQED, advertises the Vulcan property as “Rent Control Exempt: A rare opportunity in Oakland.” The pitch goes on to explain that, by increasing rent 15 percent and passing more utilities costs on to tenants, a buyer could nearly double the Vulcan’s current gross profit annually.\u003c/p>\n\u003cp>“That’s part of what brokers do,” said Simon Chen, Madison Park’s chief operating officer. “I don’t think you’ll find an offering memo that doesn’t have that kind of sales approach.”\u003c/p>\n\u003cp>The tenants also worry they’ll absorb the cost of necessary repairs. Chen said Madison Park has invested in life-safety improvements, including fire sprinklers, but conceded that the place needs work. “It was converted in 1987, and even brand new buildings from 1987 have been renovated,” he said.\u003c/p>\n\u003cp>At $16.2 million, the Vulcan isn’t for a buyer who wants to keep it as it is. The push for rent control, Pulkrabek explained, is about effectively lowering the sale price in order to attract a nonprofit developer—a buyer motivated by stewardship instead of speculation. To that end, live-work advocacy organization Safer DIY Spaces helped the tenants retain attorneys to challenge the property’s rent control exemption before the city’s Rent Adjustment Program board.\u003c/p>\n\u003cp>In Oakland, new construction or residential conversions completed after 1983 are generally exempt from rent control protections. Though the Vulcan’s live-work conversion occurred in 1987, argued the tenants’ attorney, Leah Hess, the exemption is invalid because people were actually living there previously. The rent board will consider the 27 petitions in April.\u003c/p>\n\u003cp>“A negative ruling will put people out of their homes,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13850954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg\" alt=\"Outside at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Chen, the 1987 certificates of occupancy settle the matter. An earlier group of Vulcan tenants unsuccessfully petitioned the rent board on similar grounds in 2005, he said, and an appeals court upheld the denial. According to Hess, this time is different. “The thrust of the petitions back then was a lack of certificates of occupancy,” she said. “We’re saying the rent control exemption was issued through mistake or fraud.”\u003c/p>\n\u003cp>Lia Walker moved into the Vulcan in 2006, and in 2011 the photographer started working as on-site manager for Madison Park. The company is owned and operated by John Protopappas, who’s served as a campaign fundraiser for Oakland Mayor Libby Schaaf, and it has overseen several live-work conversions and new market-rate construction projects in the city. The company also managed an artists’ live-work complex at 1919 Market St. before officials deemed it uninhabitable, resulting in the displacement of dozens.\u003c/p>\n\u003cp>For years, Walker said, Madison Park and the Vulcan tenants got along well, but relations worsened as the real estate market improved. The rent started increasing, sometimes dramatically; Madison Park hiked the cost of her darkroom, housed in a separate workspace, by 55 percent, she said. After clashing with a new supervisor, Walker was fired in 2014. “We didn’t share a philosophy or sense of fairness anymore,” she said.\u003c/p>\n\u003cp>Drea Lusion, who lives at the Vulcan in a unit with six people, said Madison Park’s decision last year to ban the “free zone,” a hallway area where tenants left art supplies and household goods for communal sharing, also helped inspire the tenants to organize. It was around the time of 7- to 10-percent rent increases for many units, she said. Prospective buyers were regularly touring the property; Madison Park called the free pile a fire hazard. “That was galvanizing,” she said. “Like, what will they take next?”\u003c/p>\n\u003cfigure id=\"attachment_13850952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg\" alt=\"A tenants' shrine to the "Free Zone" at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tenants’ shrine to the “Free Zone” at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, there is no sale pending for the Vulcan. But it seems clear that, at $16.2 million, the property is out of reach to anyone but a commercial investor. Last year, the Community Arts Stabilization Trust, which develops property for arts uses, partnered with affordable housing developer East Bay Asian Local Development Corporation to explore purchasing the property, but EBALDC said in a statement that they “did not have the resources.”\u003c/p>\n\u003cp>Kelley Kahn, Oakland’s policy director for art spaces, helped bring EBALDC and CAST to the table with Madison Park, and she said the real estate company has been cooperative and open to considering nonprofit buyers. As an industrial live-work space, though, Kahn said the project doesn’t align neatly with the traditional financing models for affordable housing.\u003c/p>\n\u003cp>“The project requires identifying both innovative funding sources and creative development partners with expertise in preserving arts and culture spaces—ideally with a pathway for the tenants themselves to become owners,” she said. “This work remains ongoing.”\u003c/p>\n\u003cfigure id=\"attachment_13850956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg\" alt=\"Andrew Pulkrabek and TKTKTK in the courtyard at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek and Drea Lusion in a courtyard at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan of Safer DIY Spaces, the organization funding the Vulcan’s petition effort, said overturning the rent-control exemption would set a significant precedent. Other multiunit buildings formalized as live-work after 1983 were previously used residentially in the common tradition of artists living in warehouses, and the rent board could open the door for them to seek rent control protections. “It’s going to have a ripple effect,” he said.\u003c/p>\n\u003cp>However, Keenan said, Safer DIY Spaces can’t afford to underwrite the petitions for much longer, so the Vulcan Tenants Union recently launched a $50,000 fundraiser. The figure covers the work of two attorneys, two paralegals and a private investigator, according to Pulkrabek. They have anecdotal evidence of residential use at the Vulcan before 1987, but more research will bolster their case.\u003c/p>\n\u003cp>Lusion and Pulkrabek walked through the maze-like hallways of the Vulcan, pointing out murals by friends, and a plant-laden courtyard. Behind one building was a small park lined with broken pianos. The tenants once tended to atomize along subcultural lines, they explained, the circus artists mingling little with, say, the musicians—until the tenants union. “If anything, this has brought us together,” Lusion said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Added Pulkrabek, “It’s reminded us of what we’re trying to preserve.”\u003c/p>\n\n","blocks":[],"excerpt":"The 52-unit East Oakland live-work complex, currently housing some 200 artists, is being marketed as a rare, rent-control exempt investment opportunity. ","status":"publish","parent":0,"modified":1705026582,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1430},"headData":{"title":"Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control | KQED","description":"The 52-unit East Oakland live-work complex, currently housing some 200 artists, is being marketed as a rare, rent-control exempt investment opportunity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control","datePublished":"2019-02-18T16:00:23.000Z","dateModified":"2024-01-12T02:29:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13850732/spurred-by-possible-sale-vulcan-arts-lofts-tenants-rally-for-rent-control","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Is this your whip?”\u003c/p>\n\u003cp>Andrew Pulkrabek was on the dancefloor of his neighbor Bri Crabtree’s loft at the Vulcan, a sprawling live-work community of some 200 residents in East Oakland, inspecting a hot-pink whip. Mirrors lined a wall near the storage nook known as “clown corner,” all beneath the vaulted ceilings that accommodate Crabtree’s weekly juggling club. Confidently, Pulkrabek cracked the whip. “Not my first rodeo,” he said.\u003c/p>\n\u003cp>Pulkrabek is a musician and a stuntman, a juggler and a roller-skater—an “entertainer,” he said—whose residence in the Vulcan, a onetime foundry in the Fruitvale district, provides necessary space for his multi-hyphenate circus arts practice. At his kitchen table, overlooking another mirror-lined dancefloor, Pulkrabek stressed the significance of the Vulcan to Burning Man-associated artists internationally.\u003c/p>\n\u003cp>“It’s probably the largest concentration of circus performers living and working under one roof,” he said, adding that there’s “without a doubt” more jugglers in residence than anywhere.\u003c/p>\n\u003cp>Lately, though, Pulkrabek has met plenty of his non-Burner neighbors. He’s an organizer of the Vulcan Tenants Union, which formed after the property, owned by politically connected developer Madison Park Financial, hit the market last year for $16,250,000. Now, the union, representing approximately 100 tenants, is working with attorneys and a private investigator to acquire rent-control protections. They say dozens of homes and workspaces are on the line.\u003c/p>\n\u003cfigure id=\"attachment_13850955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg\" alt=\"Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time of skyhigh housing costs and intense competition for performing arts-appropriate space in Oakland, the tenants union hopes to preserve a longtime live-work community for artists and craftspeople dependent on its relative affordability, high ceilings and communal ambiance. Sale to a commercial investor, they say, means near-certain displacement, and they point to Madison Park’s own marketing materials as proof.\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>Madison Park’s offering memorandum for investors, acquired by KQED, advertises the Vulcan property as “Rent Control Exempt: A rare opportunity in Oakland.” The pitch goes on to explain that, by increasing rent 15 percent and passing more utilities costs on to tenants, a buyer could nearly double the Vulcan’s current gross profit annually.\u003c/p>\n\u003cp>“That’s part of what brokers do,” said Simon Chen, Madison Park’s chief operating officer. “I don’t think you’ll find an offering memo that doesn’t have that kind of sales approach.”\u003c/p>\n\u003cp>The tenants also worry they’ll absorb the cost of necessary repairs. Chen said Madison Park has invested in life-safety improvements, including fire sprinklers, but conceded that the place needs work. “It was converted in 1987, and even brand new buildings from 1987 have been renovated,” he said.\u003c/p>\n\u003cp>At $16.2 million, the Vulcan isn’t for a buyer who wants to keep it as it is. The push for rent control, Pulkrabek explained, is about effectively lowering the sale price in order to attract a nonprofit developer—a buyer motivated by stewardship instead of speculation. To that end, live-work advocacy organization Safer DIY Spaces helped the tenants retain attorneys to challenge the property’s rent control exemption before the city’s Rent Adjustment Program board.\u003c/p>\n\u003cp>In Oakland, new construction or residential conversions completed after 1983 are generally exempt from rent control protections. Though the Vulcan’s live-work conversion occurred in 1987, argued the tenants’ attorney, Leah Hess, the exemption is invalid because people were actually living there previously. The rent board will consider the 27 petitions in April.\u003c/p>\n\u003cp>“A negative ruling will put people out of their homes,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13850954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg\" alt=\"Outside at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Chen, the 1987 certificates of occupancy settle the matter. An earlier group of Vulcan tenants unsuccessfully petitioned the rent board on similar grounds in 2005, he said, and an appeals court upheld the denial. According to Hess, this time is different. “The thrust of the petitions back then was a lack of certificates of occupancy,” she said. “We’re saying the rent control exemption was issued through mistake or fraud.”\u003c/p>\n\u003cp>Lia Walker moved into the Vulcan in 2006, and in 2011 the photographer started working as on-site manager for Madison Park. The company is owned and operated by John Protopappas, who’s served as a campaign fundraiser for Oakland Mayor Libby Schaaf, and it has overseen several live-work conversions and new market-rate construction projects in the city. The company also managed an artists’ live-work complex at 1919 Market St. before officials deemed it uninhabitable, resulting in the displacement of dozens.\u003c/p>\n\u003cp>For years, Walker said, Madison Park and the Vulcan tenants got along well, but relations worsened as the real estate market improved. The rent started increasing, sometimes dramatically; Madison Park hiked the cost of her darkroom, housed in a separate workspace, by 55 percent, she said. After clashing with a new supervisor, Walker was fired in 2014. “We didn’t share a philosophy or sense of fairness anymore,” she said.\u003c/p>\n\u003cp>Drea Lusion, who lives at the Vulcan in a unit with six people, said Madison Park’s decision last year to ban the “free zone,” a hallway area where tenants left art supplies and household goods for communal sharing, also helped inspire the tenants to organize. It was around the time of 7- to 10-percent rent increases for many units, she said. Prospective buyers were regularly touring the property; Madison Park called the free pile a fire hazard. “That was galvanizing,” she said. “Like, what will they take next?”\u003c/p>\n\u003cfigure id=\"attachment_13850952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg\" alt=\"A tenants' shrine to the "Free Zone" at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tenants’ shrine to the “Free Zone” at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, there is no sale pending for the Vulcan. But it seems clear that, at $16.2 million, the property is out of reach to anyone but a commercial investor. Last year, the Community Arts Stabilization Trust, which develops property for arts uses, partnered with affordable housing developer East Bay Asian Local Development Corporation to explore purchasing the property, but EBALDC said in a statement that they “did not have the resources.”\u003c/p>\n\u003cp>Kelley Kahn, Oakland’s policy director for art spaces, helped bring EBALDC and CAST to the table with Madison Park, and she said the real estate company has been cooperative and open to considering nonprofit buyers. As an industrial live-work space, though, Kahn said the project doesn’t align neatly with the traditional financing models for affordable housing.\u003c/p>\n\u003cp>“The project requires identifying both innovative funding sources and creative development partners with expertise in preserving arts and culture spaces—ideally with a pathway for the tenants themselves to become owners,” she said. “This work remains ongoing.”\u003c/p>\n\u003cfigure id=\"attachment_13850956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg\" alt=\"Andrew Pulkrabek and TKTKTK in the courtyard at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek and Drea Lusion in a courtyard at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan of Safer DIY Spaces, the organization funding the Vulcan’s petition effort, said overturning the rent-control exemption would set a significant precedent. Other multiunit buildings formalized as live-work after 1983 were previously used residentially in the common tradition of artists living in warehouses, and the rent board could open the door for them to seek rent control protections. “It’s going to have a ripple effect,” he said.\u003c/p>\n\u003cp>However, Keenan said, Safer DIY Spaces can’t afford to underwrite the petitions for much longer, so the Vulcan Tenants Union recently launched a $50,000 fundraiser. The figure covers the work of two attorneys, two paralegals and a private investigator, according to Pulkrabek. They have anecdotal evidence of residential use at the Vulcan before 1987, but more research will bolster their case.\u003c/p>\n\u003cp>Lusion and Pulkrabek walked through the maze-like hallways of the Vulcan, pointing out murals by friends, and a plant-laden courtyard. Behind one building was a small park lined with broken pianos. The tenants once tended to atomize along subcultural lines, they explained, the circus artists mingling little with, say, the musicians—until the tenants union. “If anything, this has brought us together,” Lusion said.\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>Added Pulkrabek, “It’s reminded us of what we’re trying to preserve.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13850732/spurred-by-possible-sale-vulcan-arts-lofts-tenants-rally-for-rent-control","authors":["11091"],"categories":["arts_835","arts_966","arts_235","arts_70"],"tags":["arts_5914","arts_1118","arts_4544","arts_5849","arts_746","arts_596","arts_1143","arts_163"],"featImg":"arts_13850953","label":"arts"},"arts_13842695":{"type":"posts","id":"arts_13842695","meta":{"index":"posts_1591205157","site":"arts","id":"13842695","score":null,"sort":[1539435647000]},"guestAuthors":[],"slug":"west-bay-operas-la-boheme-moves-its-starving-artists-from-paris-to-san-francisco","title":"West Bay Opera's 'La bohème' Moves Starving Artists from Paris to San Francisco","publishDate":1539435647,"format":"audio","headTitle":"West Bay Opera’s ‘La bohème’ Moves Starving Artists from Paris to San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>This weekend and next, \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">West Bay Opera\u003c/a> of Palo Alto delivers Giacomo Puccini’s classic, \u003cem>La bohème\u003c/em>, set in today’s San Francisco. Which is to say, against a backdrop of extreme economic disparities and epically widespread homelessness.\u003c/p>\n\u003cp>A story originally set in 1830s Paris, bustling with industry and also poverty, makes perfect sense transposed to the Bay Area, given how many people have already been, or are on the verge of, being priced out.\u003c/p>\n\u003cp>West Bay Opera certainly wouldn’t be the first to employ this staging strategy. The opera’s themes have proven resonant over more than a century in many different productions and adaptations. Think of Jonathan Larson’s rock musical \u003cem>RENT,\u003c/em> set in AIDS-riddled 1990’s New York. Or closer to home, \u003ca href=\"https://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">Opera on Tap\u003c/a>‘s \u003ca href=\"https://www.kqed.org/arts/11320161/struggling-sf-artists-imitate-life-in-la-boheme-and-yes-theres-a-bar\" target=\"_blank\" rel=\"noopener\">San Francisco take\u003c/a> performed at the Tenderloin’s EXIT Theatre in 2016.\u003c/p>\n\u003cp>West Bay Opera’s general director Jose Luis Moscovitch says, “We have parallels that we can certainly highlight to make people aware of the plight of artists; who, after all, are the creative class, the people that make San Francisco and the Bay Area such a unique place. We need to think about what to do to help them stay.”\u003c/p>\n\u003cfigure id=\"attachment_13842742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg\" alt=\"In West Bay Opera's rendition of La bohème, the action takes place outside San Francisco's City Hall, before homeless people living in tents.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In West Bay Opera’s rendition of La bohème, the action takes place outside San Francisco’s City Hall, before homeless people living in tents. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That train has largely left the station. In a sense, the most poignant tragedy of West Bay Opera’s staging is the ever-present sense of how hard it is for real artists off-stage to hang on in the Bay Area. We watch a small social circle of friends grasp vainly for happiness in a world indifferent to their slow, grinding starvation. That they laugh and sing Puccini’s soaring melodies along the way is reason enough to break out the Kleenex.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opera’s ill-fated lovers are Mimi (soprano Julie Adams), a sickly yet radiant embroiderer, and Rodolfo (tenor Nathan Granner), a writer so prone to romantic gestures he offers to burn one of his own notebooks to keep him and his flatmates warm in winter. Their rundown Victorian in the Castro may have gorgeous views of Sutro Tower, but you can’t eat that view.\u003c/p>\n\u003cp>More drama ensues against a backdrop of homeless people surviving in tents on Civic Center Plaza. The audience need not stretch mentally to get the hint the artists live one step away from living in tents themselves. Over the course of the opera, different characters obliquely reference their luck winning favors from wealthy lovers or employers, which only emphasizes how close they all live to economic ruin.\u003c/p>\n\u003cp>When the English super-titles display inevitable evidence of dated bits, like joking references to predatory sexual behavior that would get the males fired in a 2018 San Francisco workplace, the singers undercut the bite visually. That and the racially diverse casting signal something along the lines of, “We know. We know. Just focus on the glorious music!”\u003c/p>\n\u003cfigure id=\"attachment_13842712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg\" alt=\"In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lovely touches include Colline (bass baritone Brandon Bell) and Schaunard (baritone Kiril Havezov) playing a gay couple, and Parpignol (tenor Carmello Tringali) stunning the crowd in a dress and heels. Soprano Maya Kherani threatens to steal the stage more than once with her playful rendition of Musetta, a woman torn between her love for a poor painter and the good life wealthier men offer in return for her company.\u003c/p>\n\u003cp>“\u003ci>Bohème\u003c/i> is one of the most popular operas of all times,” says Stage Director Igor Vieira. “Most people have seen it many, many times. So how do you make people want to come see it again? Sure, they come for the music, but they also come for the drama. You need to keep making that drama fresh, and appealing, and something that people can relate to.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>West Bay Opera performs \u003cstrong>La bohème\u003c/strong> at the Lucie Stern Theatre in Palo Alto Oct. 12-21, 2018. For more information, click \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Desperate poverty and artists on the bring of being priced out make this modern staging of La bohème sing.","status":"publish","parent":0,"modified":1705027137,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":743},"headData":{"title":"West Bay Opera's 'La bohème' Moves Starving Artists from Paris to San Francisco | KQED","description":"Desperate poverty and artists on the bring of being priced out make this modern staging of La bohème sing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"West Bay Opera's 'La bohème' Moves Starving Artists from Paris to San Francisco","datePublished":"2018-10-13T13:00:47.000Z","dateModified":"2024-01-12T02:38:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/10/MyrowOpera.mp3","sticky":false,"audioTrackLength":114,"path":"/arts/13842695/west-bay-operas-la-boheme-moves-its-starving-artists-from-paris-to-san-francisco","audioDuration":121000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend and next, \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">West Bay Opera\u003c/a> of Palo Alto delivers Giacomo Puccini’s classic, \u003cem>La bohème\u003c/em>, set in today’s San Francisco. Which is to say, against a backdrop of extreme economic disparities and epically widespread homelessness.\u003c/p>\n\u003cp>A story originally set in 1830s Paris, bustling with industry and also poverty, makes perfect sense transposed to the Bay Area, given how many people have already been, or are on the verge of, being priced out.\u003c/p>\n\u003cp>West Bay Opera certainly wouldn’t be the first to employ this staging strategy. The opera’s themes have proven resonant over more than a century in many different productions and adaptations. Think of Jonathan Larson’s rock musical \u003cem>RENT,\u003c/em> set in AIDS-riddled 1990’s New York. Or closer to home, \u003ca href=\"https://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">Opera on Tap\u003c/a>‘s \u003ca href=\"https://www.kqed.org/arts/11320161/struggling-sf-artists-imitate-life-in-la-boheme-and-yes-theres-a-bar\" target=\"_blank\" rel=\"noopener\">San Francisco take\u003c/a> performed at the Tenderloin’s EXIT Theatre in 2016.\u003c/p>\n\u003cp>West Bay Opera’s general director Jose Luis Moscovitch says, “We have parallels that we can certainly highlight to make people aware of the plight of artists; who, after all, are the creative class, the people that make San Francisco and the Bay Area such a unique place. We need to think about what to do to help them stay.”\u003c/p>\n\u003cfigure id=\"attachment_13842742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg\" alt=\"In West Bay Opera's rendition of La bohème, the action takes place outside San Francisco's City Hall, before homeless people living in tents.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In West Bay Opera’s rendition of La bohème, the action takes place outside San Francisco’s City Hall, before homeless people living in tents. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That train has largely left the station. In a sense, the most poignant tragedy of West Bay Opera’s staging is the ever-present sense of how hard it is for real artists off-stage to hang on in the Bay Area. We watch a small social circle of friends grasp vainly for happiness in a world indifferent to their slow, grinding starvation. That they laugh and sing Puccini’s soaring melodies along the way is reason enough to break out the Kleenex.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opera’s ill-fated lovers are Mimi (soprano Julie Adams), a sickly yet radiant embroiderer, and Rodolfo (tenor Nathan Granner), a writer so prone to romantic gestures he offers to burn one of his own notebooks to keep him and his flatmates warm in winter. Their rundown Victorian in the Castro may have gorgeous views of Sutro Tower, but you can’t eat that view.\u003c/p>\n\u003cp>More drama ensues against a backdrop of homeless people surviving in tents on Civic Center Plaza. The audience need not stretch mentally to get the hint the artists live one step away from living in tents themselves. Over the course of the opera, different characters obliquely reference their luck winning favors from wealthy lovers or employers, which only emphasizes how close they all live to economic ruin.\u003c/p>\n\u003cp>When the English super-titles display inevitable evidence of dated bits, like joking references to predatory sexual behavior that would get the males fired in a 2018 San Francisco workplace, the singers undercut the bite visually. That and the racially diverse casting signal something along the lines of, “We know. We know. Just focus on the glorious music!”\u003c/p>\n\u003cfigure id=\"attachment_13842712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg\" alt=\"In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lovely touches include Colline (bass baritone Brandon Bell) and Schaunard (baritone Kiril Havezov) playing a gay couple, and Parpignol (tenor Carmello Tringali) stunning the crowd in a dress and heels. Soprano Maya Kherani threatens to steal the stage more than once with her playful rendition of Musetta, a woman torn between her love for a poor painter and the good life wealthier men offer in return for her company.\u003c/p>\n\u003cp>“\u003ci>Bohème\u003c/i> is one of the most popular operas of all times,” says Stage Director Igor Vieira. “Most people have seen it many, many times. So how do you make people want to come see it again? Sure, they come for the music, but they also come for the drama. You need to keep making that drama fresh, and appealing, and something that people can relate to.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>West Bay Opera performs \u003cstrong>La bohème\u003c/strong> at the Lucie Stern Theatre in Palo Alto Oct. 12-21, 2018. For more information, click \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13842695/west-bay-operas-la-boheme-moves-its-starving-artists-from-paris-to-san-francisco","authors":["251"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1118","arts_596","arts_763","arts_1315","arts_163","arts_4642","arts_3001","arts_5618"],"featImg":"arts_13842699","label":"arts_140"},"arts_13829537":{"type":"posts","id":"arts_13829537","meta":{"index":"posts_1591205157","site":"arts","id":"13829537","score":null,"sort":[1523977219000]},"guestAuthors":[],"slug":"the-hustle-a-snapshot-of-artists-finances-in-the-bay-area","title":"The Hustle: A Snapshot of Artists' Money in the Bay Area","publishDate":1523977219,"format":"standard","headTitle":"The Hustle: A Snapshot of Artists’ Money in the Bay Area | KQED","labelTerm":{"term":4525,"site":"arts"},"content":"\u003cp>Despite reports to the contrary, artists are still here in the Bay Area.\u003c/p>\n\u003cp>It’s true that the region is not the haven for cash-strapped dreamers it once was. But despite astronomical rents and dwindling resources, those still hanging on here are finding creative ways to, well, stay creative.\u003c/p>\n\u003cp>Over the past six weeks in a series called ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">The Hustle\u003c/a>,’ we interviewed six Bay Area artists about balancing their artistic principles with family responsibilities, grueling schedules and the \u003ca href=\"https://www.expatistan.com/cost-of-living/index/north-america\" target=\"_blank\" rel=\"noopener\">highest cost of living\u003c/a> in the continental United States. All of them were very transparent about the money coming in and the money going out.\u003c/p>\n\u003cp>Along the way, we realized that there were more artists whose stories we wanted to tell, and that each person’s story was different.\u003c/p>\n\u003cp>Thus we launched our \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">online artist survey\u003c/a>, asking the same probing financial questions we asked our profiled artists: What’s your living situation? How much money do you make? Do you have any side hustles or freelance gigs? Why do you choose to stay in the Bay Area?\u003c/p>\n\u003cfigure id=\"attachment_13827660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg\" alt=\"Raphael at home.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and sex worker Arabelle Raphael at home in the East Bay. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over 60 artists responded to the survey, repping the East Bay, North Bay, South Bay, San Francisco and even Vallejo. Over half were visual artists, while writers, musicians, graphic artists, performance artists and dancers filled out the survey as well. Everyone had advice for other artists trying to make the Bay Area their home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their answers help us understand both the precarious financial situation that many artists in the Bay Area face, but also the resilience and determination so many of them evince.\u003c/p>\n\u003ch2>Living not-so-large\u003c/h2>\n\u003cp>The majority of our survey respondents – 75 percent – live in shared rentals, and only a few are homeowners. Some have carved out resourceful living solutions in the Bay Area housing crunch. Joy Tyler, a writer, lives in a tiny house on wheels for $600 a month in the Laurel District of Oakland. A dancer in southwest Berkeley shares a camper van with one other person for $700 a month. And Sou’Lo, a multi-talented musician who lives rent-free in a friend’s car in Hayward, takes advantage of a life on wheels by running a mobile recording studio, among (many) other side hustles.\u003c/p>\n\u003cp>For many, shared rental situations are the only way to make living in the Bay Area financially feasible. Two of our respondents live in shared houses of eight. One film and installation artist recently moved into an in-law studio with one other person, but only after two years of living with 11 other people.\u003c/p>\n\u003cp>Our respondents’ rents range from zero (a Vallejo home owned outright) to $6,000 a month (a house in the Mission District). Fifty percent of our respondents pay over $1150 a month in rent.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png\" alt=\"\" width=\"800\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-160x46.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-768x222.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1020x294.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1200x346.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1180x341.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-960x277.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-240x69.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-375x108.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-520x150.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Don’t forget: making art costs money too\u003c/h2>\n\u003cp>On top of home rent, 40 percent of our respondents pay for studio space or time. The median monthly rent for those recording, rehearsal or fabrication spaces is $310 a month. Many respondents have carved studio spaces out of their homes.\u003c/p>\n\u003cp>Visual artist Deb Leal, who lives in the Mission, says, “Living room is the studio, for sure.” Others have claimed garages as their work spaces. Others have transformed their homes into live/work spaces. But for many in shared living situations, there simply isn’t room – and paying for outside space isn’t an option. A musician living with family in Richmond says, simply, “I don’t make enough or have enough money for a studio of my own yet.”\u003c/p>\n\u003cfigure id=\"attachment_13828664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg\" alt=\"James Jackson and Lilie Hoy had a residency at Zoo Labs in September 2017, which gives them free access to the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yassou had a residency at Zoo Labs in September 2017, which gives the band free access to the studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But studios are only one resource many artists need to make their work. Out of our 60 respondents, only one answered no to the question “Do you have other costs associated with your art?”\u003c/p>\n\u003cp>These costs range from paints to submission fees to marketing to shipping. Each discipline comes with its own expenses. Dancers listed toe tape, dance shoes, body work and hairspray. Musicians cited expenses like violin string, sheet music and instrument maintenance. Theater artists pay for sound, lighting and costume design. Visual artists pay for museum tickets and memberships to local arts organizations.\u003c/p>\n\u003cp>Other costs? “Endless,” says one Oakland musician.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png\" alt=\"\" width=\"800\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-160x53.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-768x253.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1020x336.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1200x395.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1180x389.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-960x316.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-240x79.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-375x123.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-520x171.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>How do you pay for it all?\u003c/h2>\n\u003cp>While over 70 percent of our respondents have day jobs (one has nine \u003ci>different\u003c/i> day jobs), these non-art pursuits aren’t necessarily making them financially stable. In San Francisco, the \u003ca href=\"http://sfmohcd.org/sites/default/files/Documents/MOH/Asset%20Management/2018%20AMI-IncomeLimits-HMFA_04-06-18.pdf\" target=\"_blank\" rel=\"noopener\">2018 area median income for one person is $82,900\u003c/a>. Translated into monthly paychecks, that’s just over $6,900 a month.\u003c/p>\n\u003cp>Only two of our respondents make more than the AMI at their day jobs. Then again, not all of them live in San Francisco. But the AMI does show the staggering amount of wealth in the Bay Area right now, which affects everything from apartment rents to coffee prices.\u003c/p>\n\u003cp>Fifty percent of our respondents make less than $2,000 a month in their day jobs. Many of them teach in addition to their art practice, some at as many as three different institutions.\u003c/p>\n\u003ch2>Earnings from art\u003c/h2>\n\u003cp>Despite the inherent costs of producing work, we were surprised by how many of our respondents make a not insignificant amount of money from their art. These are not Sunday painters and dabbling hobbyists. And though there are many signifiers of artistic accomplishment that can never be measured on a tax return, dollar figures will have to suffice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-768x543.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1020x721.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1200x849.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1180x835.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-960x679.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-375x265.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-520x368.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On the low end of the spectrum is a musician and photographer from Richmond who makes no money: “I DJ or tour with friends who do shows, but they barely pay me,” he writes. Alternately, a painter in Oakland brings in an estimated $7,000 a month from art, with no day jobs or side gigs.\u003c/p>\n\u003cp>Simply asking to be paid, several artists note, is the first step. “Demand more money from organizations/companies/etc that profit from your work,” writes a visual artist from Oakland who makes $1,000 from art. That idea flows both ways, she adds: “Support other artists, especially monetarily, if you can.”\u003c/p>\n\u003cp>One question we added to our survey (suggested by producer and musician \u003ca href=\"https://www.chhotimaa.com/\">Chhoti Maa\u003c/a>) dealt with race and identity as a factor in being able to get work. Several respondents, especially in theater and dance, saw white men as more likely to get work. Others felt tokenized: “I am a queer/non-binary filmmaker,” one replied, and “when I get recognition in certain circles it is often to fill a bill with women/non-binary filmmakers.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways actress Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cutting corners\u003c/h2>\n\u003cp>Of course, one way artists make it work is by doing with less. Among the tips we received from artists: don‘t eat out, use cheaper materials, don’t own a car, buy used clothes, pack a lunch, print things out at work, use the public library, build your own furniture, bike to work, don’t pamper yourself, don’t go out for drinks, and many others.\u003c/p>\n\u003cp>An Oakland musician says, “I can eat nothing but ramen for days — just throw in various veggies. I generally busk if I need train fare but don’t have funds. Your average liquid soap can work for showers, dishes, and laundry. Glasses last forever if you take care of the lenses — superglue fixes most things (but not instruments). There’s are never too many layers of T-shirts if the one jacket isn’t enough.”\u003c/p>\n\u003cp>A San Mateo-based painter had pointed advice for people and organizations ready to take advantage of your status as a struggling artist. “DO NOT participate in art competitions that ask you for an entry fee,” they write. “Do not hire or pay for marketing advisers or ‘teachers’ who promise to straighten up your art business. They charge too much & are not useful. Instead check out books on this topic from your public library.”\u003c/p>\n\u003ch2>Advice for Others\u003c/h2>\n\u003cp>More than any other piece of advice, “know your worth and demand to be paid” was mentioned by our survey respondents. Beyond that, we found artists generally split into two camps: those who advised to achieve financial stability before making art, and those who advised to work odd jobs that fit an artist’s schedule and don’t compromise creative energy.\u003c/p>\n\u003cp>A mixed media artist in San Francisco says, “Network, Network, Network! Make connections with your fellow artists and the art collectors that have a genuine interest in local artists. Join forces, share your resources, show up for each other. There are many more components to being an artist than just making art. One of the most essential is being recognized as a valuable asset to the community by contributing your talents, camaraderie and support.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mission District-based painter Arika von Edler says, “Live here and show your work at local galleries, but jump at any opportunity to show your work in L.A., New York, Miami, or Europe because that’s where the money is. Being a financially successful SF artist means showing outside the city. Unfortunately the amount of people who support the arts by buying art has decreased significantly in the last couple years, so show in cities where they do.”\u003c/p>\n\u003cp>Other advice was plentiful: share space, don’t give away your work, find alternative housing, get paid under the table, work in the service industry for the flexibility, teach, take advantage of the internet’s diverse market, volunteer at a gallery or art center, don’t be a flake, keep going, never stop, never give up, work jobs that don’t change your ability to make art, be well organized, understand what you’re getting into, research what resources are around you and use them.\u003c/p>\n\u003cp>Some advice was more sobering. “Marry rich, like your grandmother suggested,” wrote a San Francisco photographer. “Get used to eating canned tuna or peanut butter sandwiches.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Dana Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What can be done?\u003c/h2>\n\u003cp>When we undertook ‘The Hustle,’ we did so knowing that more artists had left the Bay Area in a five-year span then ever before. Like janitors, teachers, and waitstaff, artists are important to the day-to-day existence of a city, but are rarely compensated accordingly.\u003c/p>\n\u003cp>We asked what sort of action, by lawmakers or the public, respondents believed could help artists most in the Bay Area, and the responses ranged from the sensible to the radical. Rent control, affordable housing, universal healthcare and special designations for artists were floated as options.\u003c/p>\n\u003cp>One mixed media artist from the Mission says, “Artists should be given a monthly stipend to live and work in San Francisco. If all the creatives are forced to leave, San Francisco will deteriorate (more than it already has) and become a place no one wants to pay for. All the big money will leave for somewhere more interesting, likely wherever the artists went to. San Francisco will lose ALL her magic and ALL the money. If you want to keep the people with money here, you have to keep the artists making the magic! Pay the artists to stay.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. “Rent control is the golden handcuff,” she says. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several answers posited that artists’ survival is not an issue of policy, but of education. One Oakland musician put it simply: “Educate people on the costs and energy that go into creating art so when they are asked to or made to pay a fair rate for art, they won’t think they’re entitled to it to it.”\u003c/p>\n\u003cp>“Art is generally considered to be a non-fundamental education, and receives not only little funding, but is treated of little importance,” writes Heidi Black, a comic artist and illustrator based in San Jose. “Yet art is everywhere — architecture, design, entertainment — all forms of art! As a culture we need to assign value to art, and that means giving it value in education. Teach kids the importance of paintings like \u003cem>Guernica\u003c/em>, of the resistance art movements in the Soviet Union. Teach them how music can move a culture. Make the arts just as important as sports.”\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why do you stay?\u003c/h2>\n\u003cp>With costs as high as they are, why do artists stay in the Bay Area? Responses ranged from the practical (“I moved here 20 years ago, how can I start over at 51?”) to what can best be summarized as a nostalgia for a different San Francisco, one more welcoming to the dreamer. Others simply said: It’s home.\u003c/p>\n\u003cp>Some even exercised a bit of vision, like musician Joel Chapman.\u003c/p>\n\u003cp>“I’m staying here because I want to believe in a future of San Francisco art,” he said. “And I want to contribute to that future.”\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>Read all profiles in ‘The Hustle’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Thanks to those who participated.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"We asked, you responded—read the results of KQED's artists' survey about surviving in the high-cost-of-living Bay Area.","status":"publish","parent":0,"modified":1705028071,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":2315},"headData":{"title":"The Hustle: A Snapshot of Artists' Money in the Bay Area | KQED","description":"We asked, you responded—read the results of KQED's artists' survey about surviving in the high-cost-of-living Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Hustle: A Snapshot of Artists' Money in the Bay Area","datePublished":"2018-04-17T15:00:19.000Z","dateModified":"2024-01-12T02:54:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13829537/the-hustle-a-snapshot-of-artists-finances-in-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite reports to the contrary, artists are still here in the Bay Area.\u003c/p>\n\u003cp>It’s true that the region is not the haven for cash-strapped dreamers it once was. But despite astronomical rents and dwindling resources, those still hanging on here are finding creative ways to, well, stay creative.\u003c/p>\n\u003cp>Over the past six weeks in a series called ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">The Hustle\u003c/a>,’ we interviewed six Bay Area artists about balancing their artistic principles with family responsibilities, grueling schedules and the \u003ca href=\"https://www.expatistan.com/cost-of-living/index/north-america\" target=\"_blank\" rel=\"noopener\">highest cost of living\u003c/a> in the continental United States. All of them were very transparent about the money coming in and the money going out.\u003c/p>\n\u003cp>Along the way, we realized that there were more artists whose stories we wanted to tell, and that each person’s story was different.\u003c/p>\n\u003cp>Thus we launched our \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">online artist survey\u003c/a>, asking the same probing financial questions we asked our profiled artists: What’s your living situation? How much money do you make? Do you have any side hustles or freelance gigs? Why do you choose to stay in the Bay Area?\u003c/p>\n\u003cfigure id=\"attachment_13827660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827660\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg\" alt=\"Raphael at home.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Arabelle_Raphael_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and sex worker Arabelle Raphael at home in the East Bay. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over 60 artists responded to the survey, repping the East Bay, North Bay, South Bay, San Francisco and even Vallejo. Over half were visual artists, while writers, musicians, graphic artists, performance artists and dancers filled out the survey as well. Everyone had advice for other artists trying to make the Bay Area their home.\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>Their answers help us understand both the precarious financial situation that many artists in the Bay Area face, but also the resilience and determination so many of them evince.\u003c/p>\n\u003ch2>Living not-so-large\u003c/h2>\n\u003cp>The majority of our survey respondents – 75 percent – live in shared rentals, and only a few are homeowners. Some have carved out resourceful living solutions in the Bay Area housing crunch. Joy Tyler, a writer, lives in a tiny house on wheels for $600 a month in the Laurel District of Oakland. A dancer in southwest Berkeley shares a camper van with one other person for $700 a month. And Sou’Lo, a multi-talented musician who lives rent-free in a friend’s car in Hayward, takes advantage of a life on wheels by running a mobile recording studio, among (many) other side hustles.\u003c/p>\n\u003cp>For many, shared rental situations are the only way to make living in the Bay Area financially feasible. Two of our respondents live in shared houses of eight. One film and installation artist recently moved into an in-law studio with one other person, but only after two years of living with 11 other people.\u003c/p>\n\u003cp>Our respondents’ rents range from zero (a Vallejo home owned outright) to $6,000 a month (a house in the Mission District). Fifty percent of our respondents pay over $1150 a month in rent.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829543\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png\" alt=\"\" width=\"800\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-800x231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-160x46.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-768x222.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1020x294.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1200x346.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-1180x341.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-960x277.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-240x69.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-375x108.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs-520x150.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-hosuing-costs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Don’t forget: making art costs money too\u003c/h2>\n\u003cp>On top of home rent, 40 percent of our respondents pay for studio space or time. The median monthly rent for those recording, rehearsal or fabrication spaces is $310 a month. Many respondents have carved studio spaces out of their homes.\u003c/p>\n\u003cp>Visual artist Deb Leal, who lives in the Mission, says, “Living room is the studio, for sure.” Others have claimed garages as their work spaces. Others have transformed their homes into live/work spaces. But for many in shared living situations, there simply isn’t room – and paying for outside space isn’t an option. A musician living with family in Richmond says, simply, “I don’t make enough or have enough money for a studio of my own yet.”\u003c/p>\n\u003cfigure id=\"attachment_13828664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg\" alt=\"James Jackson and Lilie Hoy had a residency at Zoo Labs in September 2017, which gives them free access to the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yassou had a residency at Zoo Labs in September 2017, which gives the band free access to the studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But studios are only one resource many artists need to make their work. Out of our 60 respondents, only one answered no to the question “Do you have other costs associated with your art?”\u003c/p>\n\u003cp>These costs range from paints to submission fees to marketing to shipping. Each discipline comes with its own expenses. Dancers listed toe tape, dance shoes, body work and hairspray. Musicians cited expenses like violin string, sheet music and instrument maintenance. Theater artists pay for sound, lighting and costume design. Visual artists pay for museum tickets and memberships to local arts organizations.\u003c/p>\n\u003cp>Other costs? “Endless,” says one Oakland musician.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png\" alt=\"\" width=\"800\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-800x263.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-160x53.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-768x253.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1020x336.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1200x395.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-1180x389.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-960x316.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-240x79.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-375x123.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs-520x171.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-day-jobs.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>How do you pay for it all?\u003c/h2>\n\u003cp>While over 70 percent of our respondents have day jobs (one has nine \u003ci>different\u003c/i> day jobs), these non-art pursuits aren’t necessarily making them financially stable. In San Francisco, the \u003ca href=\"http://sfmohcd.org/sites/default/files/Documents/MOH/Asset%20Management/2018%20AMI-IncomeLimits-HMFA_04-06-18.pdf\" target=\"_blank\" rel=\"noopener\">2018 area median income for one person is $82,900\u003c/a>. Translated into monthly paychecks, that’s just over $6,900 a month.\u003c/p>\n\u003cp>Only two of our respondents make more than the AMI at their day jobs. Then again, not all of them live in San Francisco. But the AMI does show the staggering amount of wealth in the Bay Area right now, which affects everything from apartment rents to coffee prices.\u003c/p>\n\u003cp>Fifty percent of our respondents make less than $2,000 a month in their day jobs. Many of them teach in addition to their art practice, some at as many as three different institutions.\u003c/p>\n\u003ch2>Earnings from art\u003c/h2>\n\u003cp>Despite the inherent costs of producing work, we were surprised by how many of our respondents make a not insignificant amount of money from their art. These are not Sunday painters and dabbling hobbyists. And though there are many signifiers of artistic accomplishment that can never be measured on a tax return, dollar figures will have to suffice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13829545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-800x566.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-768x543.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1020x721.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1200x849.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-1180x835.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-960x679.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-375x265.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art-520x368.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Monthly-income-from-art.png 1476w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On the low end of the spectrum is a musician and photographer from Richmond who makes no money: “I DJ or tour with friends who do shows, but they barely pay me,” he writes. Alternately, a painter in Oakland brings in an estimated $7,000 a month from art, with no day jobs or side gigs.\u003c/p>\n\u003cp>Simply asking to be paid, several artists note, is the first step. “Demand more money from organizations/companies/etc that profit from your work,” writes a visual artist from Oakland who makes $1,000 from art. That idea flows both ways, she adds: “Support other artists, especially monetarily, if you can.”\u003c/p>\n\u003cp>One question we added to our survey (suggested by producer and musician \u003ca href=\"https://www.chhotimaa.com/\">Chhoti Maa\u003c/a>) dealt with race and identity as a factor in being able to get work. Several respondents, especially in theater and dance, saw white men as more likely to get work. Others felt tokenized: “I am a queer/non-binary filmmaker,” one replied, and “when I get recognition in certain circles it is often to fill a bill with women/non-binary filmmakers.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways actress Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cutting corners\u003c/h2>\n\u003cp>Of course, one way artists make it work is by doing with less. Among the tips we received from artists: don‘t eat out, use cheaper materials, don’t own a car, buy used clothes, pack a lunch, print things out at work, use the public library, build your own furniture, bike to work, don’t pamper yourself, don’t go out for drinks, and many others.\u003c/p>\n\u003cp>An Oakland musician says, “I can eat nothing but ramen for days — just throw in various veggies. I generally busk if I need train fare but don’t have funds. Your average liquid soap can work for showers, dishes, and laundry. Glasses last forever if you take care of the lenses — superglue fixes most things (but not instruments). There’s are never too many layers of T-shirts if the one jacket isn’t enough.”\u003c/p>\n\u003cp>A San Mateo-based painter had pointed advice for people and organizations ready to take advantage of your status as a struggling artist. “DO NOT participate in art competitions that ask you for an entry fee,” they write. “Do not hire or pay for marketing advisers or ‘teachers’ who promise to straighten up your art business. They charge too much & are not useful. Instead check out books on this topic from your public library.”\u003c/p>\n\u003ch2>Advice for Others\u003c/h2>\n\u003cp>More than any other piece of advice, “know your worth and demand to be paid” was mentioned by our survey respondents. Beyond that, we found artists generally split into two camps: those who advised to achieve financial stability before making art, and those who advised to work odd jobs that fit an artist’s schedule and don’t compromise creative energy.\u003c/p>\n\u003cp>A mixed media artist in San Francisco says, “Network, Network, Network! Make connections with your fellow artists and the art collectors that have a genuine interest in local artists. Join forces, share your resources, show up for each other. There are many more components to being an artist than just making art. One of the most essential is being recognized as a valuable asset to the community by contributing your talents, camaraderie and support.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mission District-based painter Arika von Edler says, “Live here and show your work at local galleries, but jump at any opportunity to show your work in L.A., New York, Miami, or Europe because that’s where the money is. Being a financially successful SF artist means showing outside the city. Unfortunately the amount of people who support the arts by buying art has decreased significantly in the last couple years, so show in cities where they do.”\u003c/p>\n\u003cp>Other advice was plentiful: share space, don’t give away your work, find alternative housing, get paid under the table, work in the service industry for the flexibility, teach, take advantage of the internet’s diverse market, volunteer at a gallery or art center, don’t be a flake, keep going, never stop, never give up, work jobs that don’t change your ability to make art, be well organized, understand what you’re getting into, research what resources are around you and use them.\u003c/p>\n\u003cp>Some advice was more sobering. “Marry rich, like your grandmother suggested,” wrote a San Francisco photographer. “Get used to eating canned tuna or peanut butter sandwiches.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Dana Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What can be done?\u003c/h2>\n\u003cp>When we undertook ‘The Hustle,’ we did so knowing that more artists had left the Bay Area in a five-year span then ever before. Like janitors, teachers, and waitstaff, artists are important to the day-to-day existence of a city, but are rarely compensated accordingly.\u003c/p>\n\u003cp>We asked what sort of action, by lawmakers or the public, respondents believed could help artists most in the Bay Area, and the responses ranged from the sensible to the radical. Rent control, affordable housing, universal healthcare and special designations for artists were floated as options.\u003c/p>\n\u003cp>One mixed media artist from the Mission says, “Artists should be given a monthly stipend to live and work in San Francisco. If all the creatives are forced to leave, San Francisco will deteriorate (more than it already has) and become a place no one wants to pay for. All the big money will leave for somewhere more interesting, likely wherever the artists went to. San Francisco will lose ALL her magic and ALL the money. If you want to keep the people with money here, you have to keep the artists making the magic! Pay the artists to stay.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. “Rent control is the golden handcuff,” she says. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several answers posited that artists’ survival is not an issue of policy, but of education. One Oakland musician put it simply: “Educate people on the costs and energy that go into creating art so when they are asked to or made to pay a fair rate for art, they won’t think they’re entitled to it to it.”\u003c/p>\n\u003cp>“Art is generally considered to be a non-fundamental education, and receives not only little funding, but is treated of little importance,” writes Heidi Black, a comic artist and illustrator based in San Jose. “Yet art is everywhere — architecture, design, entertainment — all forms of art! As a culture we need to assign value to art, and that means giving it value in education. Teach kids the importance of paintings like \u003cem>Guernica\u003c/em>, of the resistance art movements in the Soviet Union. Teach them how music can move a culture. Make the arts just as important as sports.”\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why do you stay?\u003c/h2>\n\u003cp>With costs as high as they are, why do artists stay in the Bay Area? Responses ranged from the practical (“I moved here 20 years ago, how can I start over at 51?”) to what can best be summarized as a nostalgia for a different San Francisco, one more welcoming to the dreamer. Others simply said: It’s home.\u003c/p>\n\u003cp>Some even exercised a bit of vision, like musician Joel Chapman.\u003c/p>\n\u003cp>“I’m staying here because I want to believe in a future of San Francisco art,” he said. “And I want to contribute to that future.”\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>Read all profiles in ‘The Hustle’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Thanks to those who participated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13829537/the-hustle-a-snapshot-of-artists-finances-in-the-bay-area","authors":["61","185"],"series":["arts_4525"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_4516","arts_1118","arts_596","arts_163","arts_4213"],"featImg":"arts_13829566","label":"arts_4525"},"arts_13827433":{"type":"posts","id":"arts_13827433","meta":{"index":"posts_1591205157","site":"arts","id":"13827433","score":null,"sort":[1521730857000]},"guestAuthors":[],"slug":"bay-area-artists-we-want-to-know-whats-your-hustle","title":"Bay Area Artists, We Want to Know: What's Your Hustle?","publishDate":1521730857,"format":"standard","headTitle":"Bay Area Artists, We Want to Know: What’s Your Hustle? | KQED","labelTerm":{"term":4525,"site":"arts"},"content":"\u003cp>We at KQED Arts have seen a huge response to our series ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" rel=\"noopener\" target=\"_blank\">The Hustle\u003c/a>,’ about the ways artists manage the high cost of living in the Bay Area. Now, KQED Arts wants \u003cem>your\u003c/em> input. After so many other artists have left the Bay Area, how do you make it work in order to stay here? What are your side hustles? What advice do you have for other artists?\u003c/p>\n\u003cp>We’ll compile the results of the below survey for a report to run in April.\u003c/p>\n\u003cp>https://docs.google.com/forms/d/e/1FAIpQLSdvHAdoY7sGEPg60oJjSBlgJ-xTufZzaqFYYmLIrbH6cwzeTg/viewform?usp=sf_link\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"As so many other artists have to leave the Bay Area, how do you make it work in order to stay? ","status":"publish","parent":0,"modified":1705028212,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":true,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":101},"headData":{"title":"Bay Area Artists, We Want to Know: What's Your Hustle? | KQED","description":"As so many other artists have to leave the Bay Area, how do you make it work in order to stay? ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Artists, We Want to Know: What's Your Hustle?","datePublished":"2018-03-22T15:00:57.000Z","dateModified":"2024-01-12T02:56:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We at KQED Arts have seen a huge response to our series ‘\u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" rel=\"noopener\" target=\"_blank\">The Hustle\u003c/a>,’ about the ways artists manage the high cost of living in the Bay Area. Now, KQED Arts wants \u003cem>your\u003c/em> input. After so many other artists have left the Bay Area, how do you make it work in order to stay here? What are your side hustles? What advice do you have for other artists?\u003c/p>\n\u003cp>We’ll compile the results of the below survey for a report to run in April.\u003c/p>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe\n src='https://docs.google.com/forms/d/e/1FAIpQLSdvHAdoY7sGEPg60oJjSBlgJ-xTufZzaqFYYmLIrbH6cwzeTg/viewform?usp=sf_link?embedded=true'\n title='https://docs.google.com/forms/d/e/1FAIpQLSdvHAdoY7sGEPg60oJjSBlgJ-xTufZzaqFYYmLIrbH6cwzeTg/viewform?usp=sf_link'\n width='760' height='500'\n frameborder='0'\n marginheight='0' marginwidth='0'>\u003c/iframe>\u003c/div>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle","authors":["92"],"series":["arts_4525"],"categories":["arts_1"],"tags":["arts_1118","arts_4332","arts_596","arts_163","arts_4213"],"featImg":"arts_13827750","label":"arts_4525"},"arts_13826589":{"type":"posts","id":"arts_13826589","meta":{"index":"posts_1591205157","site":"arts","id":"13826589","score":null,"sort":[1520539225000]},"guestAuthors":[],"slug":"the-hustle-dana-hemenway-adjunct-commuter","title":"An Artist With Four Jobs and a 380-Mile Weekly Commute","publishDate":1520539225,"format":"image","headTitle":"An Artist With Four Jobs and a 380-Mile Weekly Commute | KQED","labelTerm":{"term":4525,"site":"arts"},"content":"\u003cp>The San Francisco-based artist \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">Dana Hemenway\u003c/a> has gotten not one, but two parking tickets at UC Santa Cruz this school year.\u003c/p>\n\u003cfigure id=\"attachment_13826640\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13826640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adjunct faculty member, she \u003ci>has\u003c/i> a parking permit that should prevent such fines, but she also carries around placards for CSU East Bay and SF State. And after driving the 60 miles between Hayward and Santa Cruz from one adjunct faculty gig to another, she forgot to hang up her Santa Cruz placard. Twice. Hence, the tickets.\u003c/p>\n\u003cp>The irony isn’t lost on her. “The whole reason why I got the parking permits at all three places was so I wouldn’t have worry about finding free parking!”\u003c/p>\n\u003cp>Her current teaching schedule would mess with anyone’s sense of parking placard awareness. She teaches two days a week at SF State, two days at both CSU East Bay and UC Santa Cruz. All in all, she drives around 380 miles a week between the three. \u003c/p>\n\u003ch2>Nothing left to cut\u003c/h2>\n\u003cp>Little expenses like those parking tickets add up for Hemenway, who carefully balances her income from teaching, grants, commissions and art sales against the expenses of living in her $1,700-a-month one bedroom in San Francisco’s Mission District, owning a car, renting a studio and paying for health insurance, among other everyday necessities. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, she spent $6,000 in studio rent, $5,000 in art-related travel (including a month-long residency in Iceland and trips to NY and LA), $1,700 on art supplies, over $600 on the artist-run space \u003ca href=\"http://www.royalnonesuchgallery.com/\" rel=\"noopener\" target=\"_blank\">Royal NoneSuch Gallery\u003c/a>, where she was co-director for over two years, and almost $450 on “advertising,” which is how she classifies application fees and website costs. It adds up to around $18,000 spent on her art practice.\u003c/p>\n\u003cfigure id=\"attachment_13826685\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg\" alt=\"Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But she also made money from that practice: about $11,000 in art sales (she’s represented by \u003ca href=\"http://eleanorharwood.com/\" rel=\"noopener\" target=\"_blank\">Eleanor Harwood Gallery\u003c/a>), a \u003ca href=\"http://www.sfartscommission.org/content/2017-grantees\" rel=\"noopener\" target=\"_blank\">$11,250 grant\u003c/a> from the San Francisco Arts Commission and $14,000 from teaching. \u003c/p>\n\u003cp>This year, because of the SFAC grant and a commission for a piece in SFO’s Terminal 1, Hemenway, who works primarily in sculpture, will earn more than half her yearly income from her art practice. But that kind of success comes with its own costs: she’s hired a studio assistant one day a week to meet deadlines in the midst of her busy teaching schedule, she will likely hire an accountant to help her manage the $350,000 budget for the airport piece, and she still has to be extremely regimented about her spending.\u003c/p>\n\u003cp>In her words, “The \u003ci>New Yorker\u003c/i> subscription went out years ago.”\u003c/p>\n\u003cp>And last year, she came out just $8,000 ahead. “In terms of trying to figure out how to save money, I can’t get rid of the car because the car allows me to have the jobs at all the schools where I have to drive,” she says. “And I couldn’t get rid of my studio, because a big part of my income is actually coming from my art now.”\u003c/p>\n\u003cfigure id=\"attachment_13826689\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (Drywall Weave),' 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13826689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-520x367.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (Drywall Weave),’ 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her biggest unavoidable expenses is health insurance, which went up 50 percent from last year to about $400 a month — her income grew and her subsidy went down, but plan prices also increased. That’s almost as much as Hemenway pays for her studio at Minnesota Street Project. And because of her position as adjunct faculty, she’s ineligible for coverage from any of the three schools where she teaches classes like intro to sculpture and professional practices. \u003c/p>\n\u003cp>“They’re very careful not to get you past a certain place where they either have to contract with you or give you health insurance, because it costs the department so much more money,” Hemenway says. “It’s this chain effect of no one finding a way to resolve the issue and going through the loopholes as a result. I don’t fault the departments so specifically for that, but it is kind of like … oof.”\u003c/p>\n\u003ch2>Path of instability\u003c/h2>\n\u003cp>Hemenway has juggled multiple roles within the art world — and patchworked together a living — ever since she graduated from Mills College’s M.F.A. program in 2010. An experienced art administrator (she worked at the SFAC Galleries for four years before grad school), she had two paths in front of her: take a full-time administrative job at California College of the Arts, or work part-time for interactive video artist Camille Utterback as a studio manager. \u003c/p>\n\u003cp>“I very consciously chose to take the path of instability,” she says. “I knew that based on my experience prior to grad school that I couldn’t have a full time job and go to the studio afterwards. I like making art during the day. And I had to come to terms with that.”\u003c/p>\n\u003cp>That experience as a studio manager, watching Utterback receive, negotiate and execute public art commissions alongside her daily art practice, taught Hemenway valuable lessons about how to be an artist in the world. When she received the SFO commission, she negotiated a slightly higher artist fee than the contract initially offered.\u003c/p>\n\u003cfigure id=\"attachment_13826690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (object mounts),' 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13826690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (object mounts),’ 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had seen how much work is involved in public art. I knew that if the fee was too low, that the hourly rate for the amount of time I was going to put into the project would be almost nothing,” Hemenway says. “I should just try it and get as much as I possibly could for the fee part of the project identified and allocated, given that track record in public art.”\u003c/p>\n\u003cp>This is a piece of wisdom Hemenway imparts to all of her students. Even if you’re over the moon about an opportunity offered to you — to be in a show, to give a talk, to have your art featured somewhere in some way — you have to ask for compensation.\u003c/p>\n\u003cp>“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”\u003c/p>\n\u003ch2>‘Investing in your future’\u003c/h2>\n\u003cp>The New York-based \u003ca href=\"https://wageforwork.com/home\" rel=\"noopener\" target=\"_blank\">Working Artists for a Greater Economy\u003c/a> (W.A.G.E.), a nonprofit dedicated to establishing sustainable economic relationships between artists and institutions, makes the exact same argument, expanding the rationale beyond the individual artist. “In providing unpaid labor we not only exploit ourselves, we exploit each other,” \u003ca href=\"https://web.archive.org/web/20170622185351/http://www.wageforwork.com/news/2/updates\" rel=\"noopener\" target=\"_blank\">W.A.G.E. writes\u003c/a>. “When we participate in a race to the bottom we deny the participation of those who can’t afford to work for free.”\u003c/p>\n\u003cp>Organizations like W.A.G.E. and the Bay Area-based Compensation Foundation are part of a growing movement within the art world to make the financial workings of arts institutions more transparent and exhibition practices more equitable. W.A.G.E. provides an \u003ca href=\"https://wageforwork.com/fee-calculator\" rel=\"noopener\" target=\"_blank\">online fee calculator\u003c/a> where artists can measure the total operating budget of an institution against what W.A.G.E. argues they should be paid for various services (solo exhibitions, lectures, performances of existing works, etc.). \u003c/p>\n\u003cp>The Compensation Foundation’s \u003ca href=\"http://compensationfoundation.org/bayareaartistreport#/results\" rel=\"noopener\" target=\"_blank\">Bay Area Artists Report\u003c/a> offers a more bottom-up approach, creating a database of charts and graphs based on self-reported artist fees received from various local institutions. Interestingly, the Compensation Foundation also tracks non-monetary benefits, like “creative freedom” and “stimulating peer environment.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are factors Hemenway also takes into account when making decisions about her art career. The trick, she says, is to commit to the mindset of running a business — a business the greater economy tends not to recognize. \u003c/p>\n\u003cp>“As an artist, there’s no way you could ever get an investment loan for your business,” she says. “Restaurants are known for being wildly unsuccessful, but you can go to the bank with a business plan and ask for a loan. You can’t do that as an artist. You have to be your own bank as you’re starting out, investing in your future as an artist.”\u003c/p>\n\u003cp>When it comes to deciding whether or not to be in a group show, for example, she suggests weighing the financial burden (fabricating the work, possibly shipping it to and from the venue) against the potential benefits (showing with artists you respect, getting your artwork seen by people who might help you later). In this way, participating in an art exhibition, even without pay, can be an investment in your practice — and the future of your business. But you should always, always ask for more than you’re offered. “If you don’t ask for it, you’re not going to find out if that person’s willing to do it,” says Hemenway. “And people are so afraid to lose the opportunity that they won’t even ask.”\u003c/p>\n\u003cp>Artists should be paid for their labor, Hemenway says, and “pointing that out to people in a generous way is not a bad thing.”\u003c/p>\n\u003ch2>‘Next to impossible’\u003c/h2>\n\u003cp>Even though she’s savvy enough to negotiate for higher fees, carefully lines up her expenses in spreadsheets and packs her breakfast and lunch every morning, living in the Bay Area puts Hemenway in a precarious situation.\u003c/p>\n\u003cp>“This lifestyle that I’m doing right now is only sustainable for so long,” she says. “I could not have a kid in this budget. I could not have any long-term financial security in this budget. Giving to retirement is fairly limited in my situation. And those kinds of bigger life things you’d want to attain seem next to impossible in this current situation.”\u003c/p>\n\u003cfigure id=\"attachment_13826691\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg\" alt=\"Hemenway outside her Minnesota Street Project studio.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway outside her Minnesota Street Project studio. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline for figuring out whether she can stay in the Bay Area as a practicing artist depends on a variety of factors. Hemenway is looking into San Francisco’s affordable housing program. (The SFAC recently \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-partners-mission-economic\" rel=\"noopener\" target=\"_blank\">provided a grant\u003c/a> to the Mission Economic Development Agency to provide free coaching to artists and cultural workers navigating the city’s below-market-rate rental and purchasing options).\u003c/p>\n\u003cp>She also applies to tenure-track sculpture faculty positions wherever she can. None of those openings, thus far, have been in Bay Area schools. She’ll also keep applying to public art opportunities to raise her income and hopefully put more in savings.\u003c/p>\n\u003cp>Despite what many would deem as her success, Hemenway is anything but relaxed about her finances. “I constantly question if I’m making the right trade-offs,” she says. She moved to San Francisco in 2004. “Your rent and all of that is one thing. But then all the little expenses that have increased feel like the harder part. Because you feel like you can’t have a chill interaction with your finances.”\u003c/p>\n\u003cp>“You can’t be like ‘Yeah, I’m gonna get that cookie because I want it.’ You’re like, ‘Should I get it?’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>To see more of Dana Hemenway’s artwork, \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"How does sculptor and adjunct professor Dana Hemenway get by in the Bay Area? By always packing her lunch.","status":"publish","parent":0,"modified":1705028306,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":2019},"headData":{"title":"An Artist With Four Jobs and a 380-Mile Weekly Commute | KQED","description":"How does sculptor and adjunct professor Dana Hemenway get by in the Bay Area? By always packing her lunch.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Artist With Four Jobs and a 380-Mile Weekly Commute","datePublished":"2018-03-08T20:00:25.000Z","dateModified":"2024-01-12T02:58:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13826589/the-hustle-dana-hemenway-adjunct-commuter","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based artist \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">Dana Hemenway\u003c/a> has gotten not one, but two parking tickets at UC Santa Cruz this school year.\u003c/p>\n\u003cfigure id=\"attachment_13826640\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13826640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dana-stats-250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adjunct faculty member, she \u003ci>has\u003c/i> a parking permit that should prevent such fines, but she also carries around placards for CSU East Bay and SF State. And after driving the 60 miles between Hayward and Santa Cruz from one adjunct faculty gig to another, she forgot to hang up her Santa Cruz placard. Twice. Hence, the tickets.\u003c/p>\n\u003cp>The irony isn’t lost on her. “The whole reason why I got the parking permits at all three places was so I wouldn’t have worry about finding free parking!”\u003c/p>\n\u003cp>Her current teaching schedule would mess with anyone’s sense of parking placard awareness. She teaches two days a week at SF State, two days at both CSU East Bay and UC Santa Cruz. All in all, she drives around 380 miles a week between the three. \u003c/p>\n\u003ch2>Nothing left to cut\u003c/h2>\n\u003cp>Little expenses like those parking tickets add up for Hemenway, who carefully balances her income from teaching, grants, commissions and art sales against the expenses of living in her $1,700-a-month one bedroom in San Francisco’s Mission District, owning a car, renting a studio and paying for health insurance, among other everyday necessities. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, she spent $6,000 in studio rent, $5,000 in art-related travel (including a month-long residency in Iceland and trips to NY and LA), $1,700 on art supplies, over $600 on the artist-run space \u003ca href=\"http://www.royalnonesuchgallery.com/\" rel=\"noopener\" target=\"_blank\">Royal NoneSuch Gallery\u003c/a>, where she was co-director for over two years, and almost $450 on “advertising,” which is how she classifies application fees and website costs. It adds up to around $18,000 spent on her art practice.\u003c/p>\n\u003cfigure id=\"attachment_13826685\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg\" alt=\"Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_1_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with her SF State, CSU East Bay and UC Santa Cruz parking permits. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But she also made money from that practice: about $11,000 in art sales (she’s represented by \u003ca href=\"http://eleanorharwood.com/\" rel=\"noopener\" target=\"_blank\">Eleanor Harwood Gallery\u003c/a>), a \u003ca href=\"http://www.sfartscommission.org/content/2017-grantees\" rel=\"noopener\" target=\"_blank\">$11,250 grant\u003c/a> from the San Francisco Arts Commission and $14,000 from teaching. \u003c/p>\n\u003cp>This year, because of the SFAC grant and a commission for a piece in SFO’s Terminal 1, Hemenway, who works primarily in sculpture, will earn more than half her yearly income from her art practice. But that kind of success comes with its own costs: she’s hired a studio assistant one day a week to meet deadlines in the midst of her busy teaching schedule, she will likely hire an accountant to help her manage the $350,000 budget for the airport piece, and she still has to be extremely regimented about her spending.\u003c/p>\n\u003cp>In her words, “The \u003ci>New Yorker\u003c/i> subscription went out years ago.”\u003c/p>\n\u003cp>And last year, she came out just $8,000 ahead. “In terms of trying to figure out how to save money, I can’t get rid of the car because the car allows me to have the jobs at all the schools where I have to drive,” she says. “And I couldn’t get rid of my studio, because a big part of my income is actually coming from my art now.”\u003c/p>\n\u003cfigure id=\"attachment_13826689\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (Drywall Weave),' 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13826689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Hemenway_AllThatGlowsSees_1200-520x367.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (Drywall Weave),’ 2016. Lasercut drywall, wood, cords, custom fixtures, colored compact fluorescent light bulbs; installed at Eleanor Harwood Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her biggest unavoidable expenses is health insurance, which went up 50 percent from last year to about $400 a month — her income grew and her subsidy went down, but plan prices also increased. That’s almost as much as Hemenway pays for her studio at Minnesota Street Project. And because of her position as adjunct faculty, she’s ineligible for coverage from any of the three schools where she teaches classes like intro to sculpture and professional practices. \u003c/p>\n\u003cp>“They’re very careful not to get you past a certain place where they either have to contract with you or give you health insurance, because it costs the department so much more money,” Hemenway says. “It’s this chain effect of no one finding a way to resolve the issue and going through the loopholes as a result. I don’t fault the departments so specifically for that, but it is kind of like … oof.”\u003c/p>\n\u003ch2>Path of instability\u003c/h2>\n\u003cp>Hemenway has juggled multiple roles within the art world — and patchworked together a living — ever since she graduated from Mills College’s M.F.A. program in 2010. An experienced art administrator (she worked at the SFAC Galleries for four years before grad school), she had two paths in front of her: take a full-time administrative job at California College of the Arts, or work part-time for interactive video artist Camille Utterback as a studio manager. \u003c/p>\n\u003cp>“I very consciously chose to take the path of instability,” she says. “I knew that based on my experience prior to grad school that I couldn’t have a full time job and go to the studio afterwards. I like making art during the day. And I had to come to terms with that.”\u003c/p>\n\u003cp>That experience as a studio manager, watching Utterback receive, negotiate and execute public art commissions alongside her daily art practice, taught Hemenway valuable lessons about how to be an artist in the world. When she received the SFO commission, she negotiated a slightly higher artist fee than the contract initially offered.\u003c/p>\n\u003cfigure id=\"attachment_13826690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg\" alt=\"Dana Hemenway, 'Untitled (object mounts),' 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13826690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-960x664.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Interface_1200-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dana Hemenway, ‘Untitled (object mounts),’ 2015. Silicone, urethane, plaster, borrowed brass and steel object mounts, bolt-less storage shelf, wood; installed at Interface Gallery. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had seen how much work is involved in public art. I knew that if the fee was too low, that the hourly rate for the amount of time I was going to put into the project would be almost nothing,” Hemenway says. “I should just try it and get as much as I possibly could for the fee part of the project identified and allocated, given that track record in public art.”\u003c/p>\n\u003cp>This is a piece of wisdom Hemenway imparts to all of her students. Even if you’re over the moon about an opportunity offered to you — to be in a show, to give a talk, to have your art featured somewhere in some way — you have to ask for compensation.\u003c/p>\n\u003cp>“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”\u003c/p>\n\u003ch2>‘Investing in your future’\u003c/h2>\n\u003cp>The New York-based \u003ca href=\"https://wageforwork.com/home\" rel=\"noopener\" target=\"_blank\">Working Artists for a Greater Economy\u003c/a> (W.A.G.E.), a nonprofit dedicated to establishing sustainable economic relationships between artists and institutions, makes the exact same argument, expanding the rationale beyond the individual artist. “In providing unpaid labor we not only exploit ourselves, we exploit each other,” \u003ca href=\"https://web.archive.org/web/20170622185351/http://www.wageforwork.com/news/2/updates\" rel=\"noopener\" target=\"_blank\">W.A.G.E. writes\u003c/a>. “When we participate in a race to the bottom we deny the participation of those who can’t afford to work for free.”\u003c/p>\n\u003cp>Organizations like W.A.G.E. and the Bay Area-based Compensation Foundation are part of a growing movement within the art world to make the financial workings of arts institutions more transparent and exhibition practices more equitable. W.A.G.E. provides an \u003ca href=\"https://wageforwork.com/fee-calculator\" rel=\"noopener\" target=\"_blank\">online fee calculator\u003c/a> where artists can measure the total operating budget of an institution against what W.A.G.E. argues they should be paid for various services (solo exhibitions, lectures, performances of existing works, etc.). \u003c/p>\n\u003cp>The Compensation Foundation’s \u003ca href=\"http://compensationfoundation.org/bayareaartistreport#/results\" rel=\"noopener\" target=\"_blank\">Bay Area Artists Report\u003c/a> offers a more bottom-up approach, creating a database of charts and graphs based on self-reported artist fees received from various local institutions. Interestingly, the Compensation Foundation also tracks non-monetary benefits, like “creative freedom” and “stimulating peer environment.”\u003c/p>\n\u003cfigure id=\"attachment_13826688\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg\" alt=\"Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway with a cardboard mock-up of a commissioned piece for a hotel in Healdsburg. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are factors Hemenway also takes into account when making decisions about her art career. The trick, she says, is to commit to the mindset of running a business — a business the greater economy tends not to recognize. \u003c/p>\n\u003cp>“As an artist, there’s no way you could ever get an investment loan for your business,” she says. “Restaurants are known for being wildly unsuccessful, but you can go to the bank with a business plan and ask for a loan. You can’t do that as an artist. You have to be your own bank as you’re starting out, investing in your future as an artist.”\u003c/p>\n\u003cp>When it comes to deciding whether or not to be in a group show, for example, she suggests weighing the financial burden (fabricating the work, possibly shipping it to and from the venue) against the potential benefits (showing with artists you respect, getting your artwork seen by people who might help you later). In this way, participating in an art exhibition, even without pay, can be an investment in your practice — and the future of your business. But you should always, always ask for more than you’re offered. “If you don’t ask for it, you’re not going to find out if that person’s willing to do it,” says Hemenway. “And people are so afraid to lose the opportunity that they won’t even ask.”\u003c/p>\n\u003cp>Artists should be paid for their labor, Hemenway says, and “pointing that out to people in a generous way is not a bad thing.”\u003c/p>\n\u003ch2>‘Next to impossible’\u003c/h2>\n\u003cp>Even though she’s savvy enough to negotiate for higher fees, carefully lines up her expenses in spreadsheets and packs her breakfast and lunch every morning, living in the Bay Area puts Hemenway in a precarious situation.\u003c/p>\n\u003cp>“This lifestyle that I’m doing right now is only sustainable for so long,” she says. “I could not have a kid in this budget. I could not have any long-term financial security in this budget. Giving to retirement is fairly limited in my situation. And those kinds of bigger life things you’d want to attain seem next to impossible in this current situation.”\u003c/p>\n\u003cfigure id=\"attachment_13826691\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg\" alt=\"Hemenway outside her Minnesota Street Project studio.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13826691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Dana_Hemenway_2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hemenway outside her Minnesota Street Project studio. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline for figuring out whether she can stay in the Bay Area as a practicing artist depends on a variety of factors. Hemenway is looking into San Francisco’s affordable housing program. (The SFAC recently \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-partners-mission-economic\" rel=\"noopener\" target=\"_blank\">provided a grant\u003c/a> to the Mission Economic Development Agency to provide free coaching to artists and cultural workers navigating the city’s below-market-rate rental and purchasing options).\u003c/p>\n\u003cp>She also applies to tenure-track sculpture faculty positions wherever she can. None of those openings, thus far, have been in Bay Area schools. She’ll also keep applying to public art opportunities to raise her income and hopefully put more in savings.\u003c/p>\n\u003cp>Despite what many would deem as her success, Hemenway is anything but relaxed about her finances. “I constantly question if I’m making the right trade-offs,” she says. She moved to San Francisco in 2004. “Your rent and all of that is one thing. But then all the little expenses that have increased feel like the harder part. Because you feel like you can’t have a chill interaction with your finances.”\u003c/p>\n\u003cp>“You can’t be like ‘Yeah, I’m gonna get that cookie because I want it.’ You’re like, ‘Should I get it?’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>To see more of Dana Hemenway’s artwork, \u003ca href=\"http://www.danahemenway.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13826589/the-hustle-dana-hemenway-adjunct-commuter","authors":["61"],"series":["arts_4525"],"categories":["arts_235","arts_70"],"tags":["arts_1118","arts_596","arts_163","arts_1879","arts_4213"],"featImg":"arts_13826687","label":"arts_4525"},"arts_13825063":{"type":"posts","id":"arts_13825063","meta":{"index":"posts_1591205157","site":"arts","id":"13825063","score":null,"sort":[1519254046000]},"guestAuthors":[],"slug":"doin-the-dam-thing","title":"Doin' the DAM Thing in the Bay Area","publishDate":1519254046,"format":"standard","headTitle":"Doin’ the DAM Thing in the Bay Area | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a Thursday night this past December at the New Parish in Oakland, I saw a variety show unlike any I had seen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For lack of a better term, you could call it a talent show, but it was far from a high school assembly. Included was an amazing West African dance performance, followed by a lyrical exhibition by an MC from East Oakland. Somewhere in the mix, I saw a pole dancing performance that made me look at my own abs in utter shame.\u003c/p>\n\u003cp>Around the room, vendors sold paintings and clothing. By the front door, someone passed out free pre-rolled joints. Outside the building, in the atrium, another vendor sold hot plates. And upstairs, a tattoo artist had erected a table for anyone who wanted to leave with some permanent ink.\u003c/p>\n\u003cp>It was as if the Bay Area art community was reenacting Noah’s Ark: two of every kind of artist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wUxX0nL6R-k\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he collage of creatives represented the latest installment in the DAM Events series, a variety show that’s run for over seven years. Standing for Dance, Art and Music, and popping up every couple months in San Francisco and Oakland, it serves as a platform for artists to show their talents, build a following and most importantly: to network.\u003c/p>\n\u003cp>“There’s so much art going on!” Joseph Ramos, a tattoo artist who works at Sinful Art Studios in Albany, tells me. “If you want to see true art of all kinds, that’s where you want to be.”\u003c/p>\n\u003cp>DAM Events lead organizer Paymaneh “Bibi” Khalili tells me that “the events are a chance to showcase your talents. But the network, that’s what you’re getting involved in.”\u003c/p>\n\u003cfigure id=\"attachment_13825210\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-800x800.jpg\" alt=\"Paymaneh “Bibi” Khalili.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Paymaneh “Bibi” Khalili.\u003c/figcaption>\u003c/figure>\n\u003cp>That network at DAM, it turns out, is an extremely diverse and talented pool of people. “I’ve seen them work together, do cross-promotion, and support each other by giving references for other gigs,” Khalili says.\u003c/p>\n\u003cp>At the time of our conversation, Khalili is in traffic, coming from a day job in Los Altos, where she manages a physical therapy office, en route to San Francisco to check out venues for forthcoming events, and then headed to a hip-hop dance class in Oakland. She covers the Bay Area daily — so it’s no wonder the attendees, audience and performers at DAM Events are from all over the place.\u003c/p>\n\u003cp>“I didn’t have your average Persian upbringing,” Khalili tells me. Her parents have owned a Yogurt Shop in Menlo Park for 30 years, and felt that Khalili should follow in a similar path of small business ownership. She chose to prioritize the arts over traditional business, appreciative of the Bay Area’s cultural melting pot; her life, both personal and professional, exemplify it. “My friends are all these diverse people, and they have all these diverse friends,” she says.\u003c/p>\n\u003cp>She leverages these connections in order to create the arts bazaar that is DAM Events — which, with all the diversity and talent, would seem to be a flying success. But the problem they face is the same one many Californians face: the cost of space.\u003c/p>\n\u003caside class=\"pullquote alignright\">When South Asian performers share stages with burlesque dancers from New Orleans, and the DJ plays “Tell Me When To Go” between their sets, it’s something you’ll only find in the Bay Area.\u003c/aside>\n\u003cp>Venues aren’t cheap. And Khalili says it’s imperative that these events are hosted at venues such as New Parish, where other top names in the entertainment industry have performed, to ensure the artists aren’t overlooked in a different, lackluster setting.\u003c/p>\n\u003cp>And rightfully so. This display of art, culture and diversity should be on a pedestal; it’s what makes the Bay Area unique. When South Asian performers share stages with burlesque dancers from New Orleans, and the DJ plays “Tell Me When To Go” between their sets — and the crowd goes crazy for it all — it’s something you’ll only find in the Bay Area.\u003c/p>\n\u003cp>https://youtu.be/IK2aB434YOM?t=17s\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut it’s gotten harder to keep the Bay Area culture of cross-cultural art connection thriving. Khalili says that a one time, Red Bull sponsored the series, but they don’t fund events like it any longer. She currently charges a fee to perform and/or vend, which artists and creatives can then recoup through ticket sales.\u003c/p>\n\u003cp>But she’s in the process of pivoting her business model. “What I want to focus on is connecting with more with school programs,” Khalili says, adding that the Academy of the Arts, FIDM and Oakland School of Arts are on her list; she’ll also try to find sponsorships from small or large companies.\u003c/p>\n\u003cp>At least for now, Khalili says, “it’s from artist for artist. Really ‘mom-and-pop’ kind of vibe… the artists have to be invested in this culture of support.”\u003c/p>\n\u003cp>I agree. It’s on the artists to support the artists, before anyone else. And that means supporting the arts in general, not just your own form of art.\u003c/p>\n\u003cp>But there’s also way too many artists willing to starve for their beliefs. During a follow-up call, I ask Ramos, the tattoo artist who worked the December event, if people actually get tattoos at these types of events. He says “not often,” and then adds, “It’s not really about the business, it’s about showcasing your artwork and being around people who do artwork.”\u003c/p>\n\u003cp>As altruistic as spending your Thursday nights unifying with other artists might seem, we live in the Bay Area. Groceries, gas and good housing aren’t cheap. There has to be a larger priority on artists getting paid for their work — and that starts with the audience.\u003c/p>\n\u003cp>As a certain clan of artists once proclaimed: “Cash rules everything around me / C.R.E.A.M. / Get the money.”\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>\n\u003cp>\u003cem>DAM Events returns with its latest installment this Thursday, Feb. 22, at the DNA Lounge in San Francisco. Details \u003ca href=\"https://www.thedamevent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A regular Bay Area series features incredible street-level talent: dancers, musicians, artists and more. How can we make sure they get paid enough to stay here?","status":"publish","parent":0,"modified":1705028443,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1073},"headData":{"title":"Doin' the DAM Thing in the Bay Area | KQED","description":"A regular Bay Area series features incredible street-level talent: dancers, musicians, artists and more. How can we make sure they get paid enough to stay here?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Doin' the DAM Thing in the Bay Area","datePublished":"2018-02-21T23:00:46.000Z","dateModified":"2024-01-12T03:00:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13825063/doin-the-dam-thing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a Thursday night this past December at the New Parish in Oakland, I saw a variety show unlike any I had seen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For lack of a better term, you could call it a talent show, but it was far from a high school assembly. Included was an amazing West African dance performance, followed by a lyrical exhibition by an MC from East Oakland. Somewhere in the mix, I saw a pole dancing performance that made me look at my own abs in utter shame.\u003c/p>\n\u003cp>Around the room, vendors sold paintings and clothing. By the front door, someone passed out free pre-rolled joints. Outside the building, in the atrium, another vendor sold hot plates. And upstairs, a tattoo artist had erected a table for anyone who wanted to leave with some permanent ink.\u003c/p>\n\u003cp>It was as if the Bay Area art community was reenacting Noah’s Ark: two of every kind of artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\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/wUxX0nL6R-k'\n title='//www.youtube.com/embed/wUxX0nL6R-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he collage of creatives represented the latest installment in the DAM Events series, a variety show that’s run for over seven years. Standing for Dance, Art and Music, and popping up every couple months in San Francisco and Oakland, it serves as a platform for artists to show their talents, build a following and most importantly: to network.\u003c/p>\n\u003cp>“There’s so much art going on!” Joseph Ramos, a tattoo artist who works at Sinful Art Studios in Albany, tells me. “If you want to see true art of all kinds, that’s where you want to be.”\u003c/p>\n\u003cp>DAM Events lead organizer Paymaneh “Bibi” Khalili tells me that “the events are a chance to showcase your talents. But the network, that’s what you’re getting involved in.”\u003c/p>\n\u003cfigure id=\"attachment_13825210\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-800x800.jpg\" alt=\"Paymaneh “Bibi” Khalili.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Bibi-copy-1-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Paymaneh “Bibi” Khalili.\u003c/figcaption>\u003c/figure>\n\u003cp>That network at DAM, it turns out, is an extremely diverse and talented pool of people. “I’ve seen them work together, do cross-promotion, and support each other by giving references for other gigs,” Khalili says.\u003c/p>\n\u003cp>At the time of our conversation, Khalili is in traffic, coming from a day job in Los Altos, where she manages a physical therapy office, en route to San Francisco to check out venues for forthcoming events, and then headed to a hip-hop dance class in Oakland. She covers the Bay Area daily — so it’s no wonder the attendees, audience and performers at DAM Events are from all over the place.\u003c/p>\n\u003cp>“I didn’t have your average Persian upbringing,” Khalili tells me. Her parents have owned a Yogurt Shop in Menlo Park for 30 years, and felt that Khalili should follow in a similar path of small business ownership. She chose to prioritize the arts over traditional business, appreciative of the Bay Area’s cultural melting pot; her life, both personal and professional, exemplify it. “My friends are all these diverse people, and they have all these diverse friends,” she says.\u003c/p>\n\u003cp>She leverages these connections in order to create the arts bazaar that is DAM Events — which, with all the diversity and talent, would seem to be a flying success. But the problem they face is the same one many Californians face: the cost of space.\u003c/p>\n\u003caside class=\"pullquote alignright\">When South Asian performers share stages with burlesque dancers from New Orleans, and the DJ plays “Tell Me When To Go” between their sets, it’s something you’ll only find in the Bay Area.\u003c/aside>\n\u003cp>Venues aren’t cheap. And Khalili says it’s imperative that these events are hosted at venues such as New Parish, where other top names in the entertainment industry have performed, to ensure the artists aren’t overlooked in a different, lackluster setting.\u003c/p>\n\u003cp>And rightfully so. This display of art, culture and diversity should be on a pedestal; it’s what makes the Bay Area unique. When South Asian performers share stages with burlesque dancers from New Orleans, and the DJ plays “Tell Me When To Go” between their sets — and the crowd goes crazy for it all — it’s something you’ll only find in the Bay Area.\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/IK2aB434YOM'\n title='//www.youtube.com/embed/IK2aB434YOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut it’s gotten harder to keep the Bay Area culture of cross-cultural art connection thriving. Khalili says that a one time, Red Bull sponsored the series, but they don’t fund events like it any longer. She currently charges a fee to perform and/or vend, which artists and creatives can then recoup through ticket sales.\u003c/p>\n\u003cp>But she’s in the process of pivoting her business model. “What I want to focus on is connecting with more with school programs,” Khalili says, adding that the Academy of the Arts, FIDM and Oakland School of Arts are on her list; she’ll also try to find sponsorships from small or large companies.\u003c/p>\n\u003cp>At least for now, Khalili says, “it’s from artist for artist. Really ‘mom-and-pop’ kind of vibe… the artists have to be invested in this culture of support.”\u003c/p>\n\u003cp>I agree. It’s on the artists to support the artists, before anyone else. And that means supporting the arts in general, not just your own form of art.\u003c/p>\n\u003cp>But there’s also way too many artists willing to starve for their beliefs. During a follow-up call, I ask Ramos, the tattoo artist who worked the December event, if people actually get tattoos at these types of events. He says “not often,” and then adds, “It’s not really about the business, it’s about showcasing your artwork and being around people who do artwork.”\u003c/p>\n\u003cp>As altruistic as spending your Thursday nights unifying with other artists might seem, we live in the Bay Area. Groceries, gas and good housing aren’t cheap. There has to be a larger priority on artists getting paid for their work — and that starts with the audience.\u003c/p>\n\u003cp>As a certain clan of artists once proclaimed: “Cash rules everything around me / C.R.E.A.M. / Get the money.”\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>\n\u003cp>\u003cem>DAM Events returns with its latest installment this Thursday, Feb. 22, at the DNA Lounge in San Francisco. Details \u003ca href=\"https://www.thedamevent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825063/doin-the-dam-thing","authors":["11491"],"categories":["arts_2303"],"tags":["arts_2767","arts_1118","arts_596","arts_1143","arts_163"],"featImg":"arts_13825104","label":"arts"},"arts_10134606":{"type":"posts","id":"arts_10134606","meta":{"index":"posts_1591205157","site":"arts","id":"10134606","score":null,"sort":[1396530052000]},"guestAuthors":[],"slug":"priced-out-san-franciscos-changing-values-and-artist-exodus","title":"Priced Out: San Francisco's Changing Values and Artist Exodus","publishDate":1396530052,"format":"image","headTitle":"Priced Out: San Francisco’s Changing Values and Artist Exodus | KQED","labelTerm":{"term":407,"site":"arts"},"content":"\u003cp>Last fall, San Francisco artist and curator Rene Yañez and his family were \u003ca href=\"http://www.sfbg.com/2013/10/11/no-room-left-san-francisco-artist-who-helped-make-mission-what\">evicted under the Ellis Act\u003c/a> after living in their home for 35 years. A brief overview of Yañez’s cultural contributions includes the founding of nonprofit arts organization Galería de la Raza, the establishment of Dia de los Muertos, one of the city’s premiere traditions, and the first Bay Area presentation of Frida Kahlo’s work in 1978, after it was initially rejected by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>In response to Yañez’s unceremonious eviction, performance artist Guillermo Gómez-Peña published an \u003ca href=\"https://docs.google.com/document/d/1pwjXeyT88TNdUgo8ZeNlBGAH-3GIKmloeLTqyxYVkm4/edit?pli=1\">open letter\u003c/a> to Yañez expressing his outrage over the city’s changing values. “This is the new San Francisco,” wrote Gómez-Peña, “a city that’s been sold to the seven most powerful internet corporations, and now you’ve become collateral damage, just some nuisance to be pushed out of the way by yet another greedy landlord marching along to the triumphant fanfares of the not-so-virtual takeover of our city.” In the time since, many others, including numerous artists, have been evicted or have simply priced out of their homes and studios.\u003c/p>\n\u003cp>As these stories emerge, some point out that the Bay Area has always been widely known as a transitory space for artists. Many have lived here for a time, then moved on to cities like Los Angeles or New York, where the art markets are more aggressive. Though opportunities for commercial success have always been somewhat limited in the Bay Area, artists and other creative types have chosen to move here for a variety of reasons: unparalleled natural beauty, divine weather, progressive politics, and, at various times until recently, relatively affordable live/work space, among other reasons. The appeal of the Bay Area, it was once explained to me by an artist, was that it allowed for and even encouraged risk-taking and experimentation, in ways that other art centers like New York didn’t, for lack of space and high cost of living.\u003c/p>\n\u003cp>San Francisco, and indeed the greater Bay Area, has seen several iterations of booms and busts in its relatively short history. Invariably these periods are compared to the Gold Rush, the historic touchstone of wild prosperity for a select few and grave adversity for everyone else. As far as the financial implications go, the writing is on the wall — social media spawns new \u003ca href=\"http://www.thebolditalic.com/articles/4451-so-this-housing-flier-is-depressing\">stories about outrageous San Francisco rents\u003c/a> every day, with one-bedroom apartments in the Mission going for as much as $5,000 a month, depending on who you ask.\u003c/p>\n\u003cp>San Francisco photographer Scott Hampton recently parodied the situation in \u003ca href=\"http://www.thebolditalic.com/articles/4637-parody-photos-of-the-sf-rental-market-are-darkly-funny\">a photo essay\u003c/a> on \u003ci>The Bold Italic\u003c/i>. Hampton’s images feature For Rent signs displayed on planter boxes and manhole covers, among other marginalized spaces around the city. An accompanying live Craigslist ad describes a dumpster as a “33 sq. ft. waterfront condo.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Popularized on Facebook, an earlier project titled \u003ca href=\"https://www.facebook.com/EverythingMustGoSanFrancisco\">\u003ci>Everything Must Go: San Francisco\u003c/i>\u003c/a> also posted fictitious notices on Craigslist under items for sale, lost items and missed connections. One ad, filed under “wanted by owner” sought the “ORIGINAL Mission District ($1).” Documentation of each ad is \u003ca href=\"http://everythingmustgosanfrancisco.tumblr.com/\">archived on Tumblr\u003c/a>.\u003c/p>\n\u003cp>With signs of a runaway real estate boom in full effect, the conversation shouldn’t be about vilifying technology sector workers — a common refrain — but instead questioning the corporate sector’s ability to absorb public resources while deftly avoiding reciprocal civic investment. In a \u003ca href=\"http://www.bloomberg.com/news/2014-03-12/cash-abroad-rises-206-billion-as-apple-to-ibm-avoid-tax.html\">March 12, 2014 article\u003c/a> \u003ci>Bloomberg\u003c/i> reported, “The largest U.S.-based companies, including Microsoft, Apple, and Google, added $206 billion to their stockpiles of offshore profits last year, parking earnings in low-tax countries until Congress gives them a reason not to.” The same article further estimated that this money amounts to an “annual revenue loss to the U.S. that ranges from $30 billion to $90 billion.” Simultaneously, there is no sense of these companies taking a corresponding philanthropic interest in the communities that house their workers or their headquarters — no massive influx of cash for public resources, such as transportation, or education, or housing.\u003c/p>\n\u003cp>Though one can argue that San Francisco has always been a city in transition, it has also long been defined by its commitment to cultural diversity and creative communities. The city’s investment in these values has, in fact, nurtured some of the most important cultural movements in the country. As the city evolves to reflect different values, privileging wealth and private enterprise, what will become of the civic responsibility to nurture and support artists and art communities at the grassroots level?\u003c/p>\n\u003cp>I contacted several current and former Bay Area artists and curators about San Francisco’s recent shifts, changing values and artist exodus — their perspectives are profiled here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/rennypritikin.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"renny pritikin\">\u003c/p>\n\u003ch2>Renny Pritikin\u003c/h2>\n\u003cp>In 2010 longstanding Bay Area curator Renny Pritikin posted an \u003ca href=\"http://openspace.sfmoma.org/2010/02/artists-whove-left-town/\">open-ended article\u003c/a> on \u003ci>SFMOMA Open Space\u003c/i> that listed artists who’d left and those who’d stayed in the area up to that point. The article and resulting commentary invoked a healthy dialog about the Bay Area’s art scene — to the extent that readers continued to read and post comments two years after the initial publication. Now four years later, the extensive comments read like a pre-apocalyptic time capsule, with little anticipation of the cultural shifts evident today. There is scant mention of Facebook or Twitter. It represents, as a social document, the precipice of major changes in the cultural landscape — before the pervasive influence of social media on our everyday lives and the booming presence of the tech industrial complex.\u003c/p>\n\u003cp>“I see the current situation as exceptional, an earthquake as opposed to daily miniscule tremors in the usual economy of artists making the decision to stay or go,” Pritkin said recently. “I don’t feel, as some of my friends do, that this bubble too shall pass like the last one. This feels permanent.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/lisadent.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"lisa dent by carolyn lambert\">\u003c/p>\n\u003ch2>Lisa Dent\u003c/h2>\n\u003cp>Former San Francisco gallerist Lisa Dent, who operated an eponymous gallery in the city from 2004 to 2008, has observed the shift in wealth and its impact on artists across the country from a different perspective. As Director of Resources and Award Programs at Creative Capital, a funding organization that supports artists, she says, “I just don’t see room for experimentation. Creativity takes time and space and does not always bear financial fruit within a fiscal year. I find many artists to be very impatient, causing them to present work too quickly or get into agreements that are financially based and do nothing to push their work forward in formal, intellectual or conceptual ways. Past ideas just get regurgitated and we all learn nothing in the process.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/glenhelfand.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"glen helfand\">\u003c/p>\n\u003ch2>Glen Helfand\u003c/h2>\n\u003cp>Longtime Bay Area art critic, curator and educator Glen Helfand moved to San Francisco in the 1980s and began participating in local culture in the 1990s. In the time since, he has written for \u003ci>SF Weekly\u003c/i>, \u003ci>Bay Guardian\u003c/i>, and \u003ci>Artforum\u003c/i>; in 2002 he coined the term “Mission School” when writing for the \u003ci>Guardian\u003c/i> about Barry McGee, Margaret Kilgallen and Chris Johanson, artists whose work today is synonymous with San Francisco, and indeed the Mission, all over the world. Helfand has also organized shows in many venues, most recently a series of exhibitions at the Asian Art Museum of San Francisco, and has taught at several major art schools, including California College of the Arts, Mills College, and San Francisco Art Institute, where he organized public programs and lectures for the last eight years. After his rent more than doubled last year, Helfand moved to Oakland after failing to find anything he could afford in the city. “It was sobering to realize that my cultural contributions didn’t mean anything when it came to a place to live,” he said. “The thing I keep thinking about now is that question of what keeps me here if there is such a loss of what might be termed an artistic/alternative culture soul to San Francisco. Living outside the city, I have to wonder about what it is that will keep me coming back.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/andrewshoultz.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"\">\u003c/p>\n\u003ch2>Andrew Schoultz\u003c/h2>\n\u003cp>Some artists are reluctant to talk about displacement because it runs counter to a sense of ruthless optimism inherent to the Bay Area. Many are committed to seeing positive possibilities in recent changes, even if these possibilities come at the expense of others. Artist Andrew Schoultz, a former fixture in the San Francisco art scene, spoke about this pervasive disinterest in negativity in a telephone conversation for this article. “A lot of people would say, you know, ‘Get over it. This is happening.’ Only when someone is personally affected or someone they know is displaced does the conversation change.”\u003c/p>\n\u003cp>Schoultz was evicted from his first San Francisco apartment in the 1990s boom and persisted in the city for 17 years before opting to move to Los Angeles earlier this year. “San Francisco \u003ca href=\"http://blog.sfgate.com/cityinsider/2013/04/21/s-f-names-2013-year-of-the-child-despite-having-so-few-of-them/\">isn’t conducive to having a family\u003c/a>,” he said. “The city’s turned into a culture of extreme entitlement. There isn’t a philanthropic interest, it’s cutthroat with an air of privilege that wasn’t part of the first dot boom. Even the murals that some companies commission for their offices are a low investment in the community: if they change their minds later, they figure they can just paint over them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/ruznichagler.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"josh hagler and maja ruznic\">\u003c/p>\n\u003ch2>Josh Hagler and Maja Ruznic\u003c/h2>\n\u003cp>This sense of the longstanding art community’s disposability is widely shared by some and dismissed by others. Artist Josh Hagler, who earlier this year moved from San Francisco to Los Angeles with artist Maja Ruznic, sees it as changing values, and notes that if he belabored the point on Facebook, some friends would respond with distanced explanations of economics. “A common sentiment, ‘I guess ‘they’ will just have to learn to adapt’ seemed to afford them distance from feeling and experiencing what is going on right now on the ground.”\u003c/p>\n\u003cp>For Ruznic, whose family arrived in the city in the 1990s as refugees from Bosnia, San Francisco is home. Her mother and sister still live in the same rent-controlled apartment from when they arrived. The stability of their living arrangement is a source of constant concern for the artist, who admits to struggling so hard to survive in the Bay Area that she supplemented her rent with credit cards. It is “a sad unfortunate situation facing not only artists, but all those not in the tech world,” she said.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/WalterRobinson.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"walter robinson\">\u003c/p>\n\u003ch2>Walter Robinson\u003c/h2>\n\u003cp>Longtime San Francisco artist Walter Robinson, who has called the Bay Area home his entire life, is planning to move to New Mexico later this year. “Although we could stay, we are not liking what San Francisco and the Bay Area have become,” he said. “Money is an issue insofar as we are at an age where the numbers have to make better sense to get us further down the road. This is a young and wealthy person’s town now… I’ve seen it go through all these changes over the years, but things have really changed here in the last year. People ask me, ‘Aren’t you going to miss the Bay Area?’ And I say that I already do. It’s not the same Bay Area it once was before.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/reneyanez.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"rene yanez\">\u003c/p>\n\u003ch2>Rene Yañez\u003c/h2>\n\u003cp>Rene Yañez believes city arts leadership needs to take a position about the changes confronting artists and nonprofit cultural organizations. “I want to see the San Francisco Art Commission take a public stance on what is happening to the art community,” he said. “There is a long history of San Francisco and the city supporting artists — the arts commission should be tackling this issue as part of their agenda, organizing panels with artists and giving the community a chance to have their say. We need public events with artists and the new tech community to figure out how to create an audience and to discuss the future of San Francisco’s culture.” Asked if he imagines leaving the city, he said, “I am trying very hard not to leave, but spaces in the Mission have now become a status symbol.”\u003c/p>\n\u003ch2>Moving Forward\u003c/h2>\n\u003cp>Perhaps because the Bay Area has seen artists come and go habitually over the years, it’s tempting to assume a kind of stoicism in the face of the present exodus. Certainly there are many great artists here still. The cultural community remains tight knit, if somewhat polarized by the debate about how to consider recent shifts. Many are focused on the immediacy of so much displacement, including an organizing entity online called \u003ca href=\"https://defendthebayarea.org/\">Defend the Bay Area\u003c/a>, which offers to coordinate assemblies and other events for a kick-off week of actions through April 5, 2014. Others are interested in exploring an equitable relationship between art and technology. An open Facebook group called \u003ca href=\"https://www.facebook.com/groups/651492394900813/#_=_\">Re-engineering: Art/Tech/City\u003c/a>, composed of hundreds of artists, writers and the like, offers “a public forum for solutions… where art and tech can flourish.”\u003c/p>\n\u003cp>Similarly, \u003ca href=\"https://twitter.com/ArtupSF\">Artup\u003c/a> is “a platform for discussion and tangible engagement focused on issues of cultural economics, modes of production, and the confluence of technology and art.” Fiscally sponsored by the Gray Area Foundation for the Arts and organized in partnership with Bay Area online arts journal \u003ca href=\"http://www.artpractical.com/\">\u003ci>Art Practical\u003c/i>\u003c/a>, Artup organizes “meetups” and distributes a periodic grant to support projects that engage art and technology.\u003c/p>\n\u003cp>Behind the recent attrition of artists, art nonprofits and commercial galleries, pressing questions remain about how to cultivate sustainability in this new paradigm, questions that extend well beyond the concerns of the art community. Is this a crisis? Or is it an opportunity for reinvention? For anyone who cares about living in the Bay Area, with all of its sunny diversity, it should be seen as both.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This is the second in a series by Christian L. Frock that explores the impact of new tech wealth on artists and the art community. The \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">first article\u003c/a> titled “Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene” explored the impact on galleries and non-profit organizations and was published on March 7, 2014. Forthcoming installments will consider local changes in relation to the arts across the country, relevant histories and new strategies to preserve the arts and their legacies.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"As evictions climb and stories of escalating rents spiral to astonishing heights, artists are being displaced and many are forced to leave the city. Will rising costs bring about a San Francisco without artists?","status":"publish","parent":0,"modified":1705049169,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":2497},"headData":{"title":"Priced Out: San Francisco's Changing Values and Artist Exodus | KQED","description":"As evictions climb and stories of escalating rents spiral to astonishing heights, artists are being displaced and many are forced to leave the city. Will rising costs bring about a San Francisco without artists?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Priced Out: San Francisco's Changing Values and Artist Exodus","datePublished":"2014-04-03T13:00:52.000Z","dateModified":"2024-01-12T08:46:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10134606/priced-out-san-franciscos-changing-values-and-artist-exodus","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, San Francisco artist and curator Rene Yañez and his family were \u003ca href=\"http://www.sfbg.com/2013/10/11/no-room-left-san-francisco-artist-who-helped-make-mission-what\">evicted under the Ellis Act\u003c/a> after living in their home for 35 years. A brief overview of Yañez’s cultural contributions includes the founding of nonprofit arts organization Galería de la Raza, the establishment of Dia de los Muertos, one of the city’s premiere traditions, and the first Bay Area presentation of Frida Kahlo’s work in 1978, after it was initially rejected by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>In response to Yañez’s unceremonious eviction, performance artist Guillermo Gómez-Peña published an \u003ca href=\"https://docs.google.com/document/d/1pwjXeyT88TNdUgo8ZeNlBGAH-3GIKmloeLTqyxYVkm4/edit?pli=1\">open letter\u003c/a> to Yañez expressing his outrage over the city’s changing values. “This is the new San Francisco,” wrote Gómez-Peña, “a city that’s been sold to the seven most powerful internet corporations, and now you’ve become collateral damage, just some nuisance to be pushed out of the way by yet another greedy landlord marching along to the triumphant fanfares of the not-so-virtual takeover of our city.” In the time since, many others, including numerous artists, have been evicted or have simply priced out of their homes and studios.\u003c/p>\n\u003cp>As these stories emerge, some point out that the Bay Area has always been widely known as a transitory space for artists. Many have lived here for a time, then moved on to cities like Los Angeles or New York, where the art markets are more aggressive. Though opportunities for commercial success have always been somewhat limited in the Bay Area, artists and other creative types have chosen to move here for a variety of reasons: unparalleled natural beauty, divine weather, progressive politics, and, at various times until recently, relatively affordable live/work space, among other reasons. The appeal of the Bay Area, it was once explained to me by an artist, was that it allowed for and even encouraged risk-taking and experimentation, in ways that other art centers like New York didn’t, for lack of space and high cost of living.\u003c/p>\n\u003cp>San Francisco, and indeed the greater Bay Area, has seen several iterations of booms and busts in its relatively short history. Invariably these periods are compared to the Gold Rush, the historic touchstone of wild prosperity for a select few and grave adversity for everyone else. As far as the financial implications go, the writing is on the wall — social media spawns new \u003ca href=\"http://www.thebolditalic.com/articles/4451-so-this-housing-flier-is-depressing\">stories about outrageous San Francisco rents\u003c/a> every day, with one-bedroom apartments in the Mission going for as much as $5,000 a month, depending on who you ask.\u003c/p>\n\u003cp>San Francisco photographer Scott Hampton recently parodied the situation in \u003ca href=\"http://www.thebolditalic.com/articles/4637-parody-photos-of-the-sf-rental-market-are-darkly-funny\">a photo essay\u003c/a> on \u003ci>The Bold Italic\u003c/i>. Hampton’s images feature For Rent signs displayed on planter boxes and manhole covers, among other marginalized spaces around the city. An accompanying live Craigslist ad describes a dumpster as a “33 sq. ft. waterfront condo.”\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>Popularized on Facebook, an earlier project titled \u003ca href=\"https://www.facebook.com/EverythingMustGoSanFrancisco\">\u003ci>Everything Must Go: San Francisco\u003c/i>\u003c/a> also posted fictitious notices on Craigslist under items for sale, lost items and missed connections. One ad, filed under “wanted by owner” sought the “ORIGINAL Mission District ($1).” Documentation of each ad is \u003ca href=\"http://everythingmustgosanfrancisco.tumblr.com/\">archived on Tumblr\u003c/a>.\u003c/p>\n\u003cp>With signs of a runaway real estate boom in full effect, the conversation shouldn’t be about vilifying technology sector workers — a common refrain — but instead questioning the corporate sector’s ability to absorb public resources while deftly avoiding reciprocal civic investment. In a \u003ca href=\"http://www.bloomberg.com/news/2014-03-12/cash-abroad-rises-206-billion-as-apple-to-ibm-avoid-tax.html\">March 12, 2014 article\u003c/a> \u003ci>Bloomberg\u003c/i> reported, “The largest U.S.-based companies, including Microsoft, Apple, and Google, added $206 billion to their stockpiles of offshore profits last year, parking earnings in low-tax countries until Congress gives them a reason not to.” The same article further estimated that this money amounts to an “annual revenue loss to the U.S. that ranges from $30 billion to $90 billion.” Simultaneously, there is no sense of these companies taking a corresponding philanthropic interest in the communities that house their workers or their headquarters — no massive influx of cash for public resources, such as transportation, or education, or housing.\u003c/p>\n\u003cp>Though one can argue that San Francisco has always been a city in transition, it has also long been defined by its commitment to cultural diversity and creative communities. The city’s investment in these values has, in fact, nurtured some of the most important cultural movements in the country. As the city evolves to reflect different values, privileging wealth and private enterprise, what will become of the civic responsibility to nurture and support artists and art communities at the grassroots level?\u003c/p>\n\u003cp>I contacted several current and former Bay Area artists and curators about San Francisco’s recent shifts, changing values and artist exodus — their perspectives are profiled here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/rennypritikin.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"renny pritikin\">\u003c/p>\n\u003ch2>Renny Pritikin\u003c/h2>\n\u003cp>In 2010 longstanding Bay Area curator Renny Pritikin posted an \u003ca href=\"http://openspace.sfmoma.org/2010/02/artists-whove-left-town/\">open-ended article\u003c/a> on \u003ci>SFMOMA Open Space\u003c/i> that listed artists who’d left and those who’d stayed in the area up to that point. The article and resulting commentary invoked a healthy dialog about the Bay Area’s art scene — to the extent that readers continued to read and post comments two years after the initial publication. Now four years later, the extensive comments read like a pre-apocalyptic time capsule, with little anticipation of the cultural shifts evident today. There is scant mention of Facebook or Twitter. It represents, as a social document, the precipice of major changes in the cultural landscape — before the pervasive influence of social media on our everyday lives and the booming presence of the tech industrial complex.\u003c/p>\n\u003cp>“I see the current situation as exceptional, an earthquake as opposed to daily miniscule tremors in the usual economy of artists making the decision to stay or go,” Pritkin said recently. “I don’t feel, as some of my friends do, that this bubble too shall pass like the last one. This feels permanent.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/lisadent.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"lisa dent by carolyn lambert\">\u003c/p>\n\u003ch2>Lisa Dent\u003c/h2>\n\u003cp>Former San Francisco gallerist Lisa Dent, who operated an eponymous gallery in the city from 2004 to 2008, has observed the shift in wealth and its impact on artists across the country from a different perspective. As Director of Resources and Award Programs at Creative Capital, a funding organization that supports artists, she says, “I just don’t see room for experimentation. Creativity takes time and space and does not always bear financial fruit within a fiscal year. I find many artists to be very impatient, causing them to present work too quickly or get into agreements that are financially based and do nothing to push their work forward in formal, intellectual or conceptual ways. Past ideas just get regurgitated and we all learn nothing in the process.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/glenhelfand.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"glen helfand\">\u003c/p>\n\u003ch2>Glen Helfand\u003c/h2>\n\u003cp>Longtime Bay Area art critic, curator and educator Glen Helfand moved to San Francisco in the 1980s and began participating in local culture in the 1990s. In the time since, he has written for \u003ci>SF Weekly\u003c/i>, \u003ci>Bay Guardian\u003c/i>, and \u003ci>Artforum\u003c/i>; in 2002 he coined the term “Mission School” when writing for the \u003ci>Guardian\u003c/i> about Barry McGee, Margaret Kilgallen and Chris Johanson, artists whose work today is synonymous with San Francisco, and indeed the Mission, all over the world. Helfand has also organized shows in many venues, most recently a series of exhibitions at the Asian Art Museum of San Francisco, and has taught at several major art schools, including California College of the Arts, Mills College, and San Francisco Art Institute, where he organized public programs and lectures for the last eight years. After his rent more than doubled last year, Helfand moved to Oakland after failing to find anything he could afford in the city. “It was sobering to realize that my cultural contributions didn’t mean anything when it came to a place to live,” he said. “The thing I keep thinking about now is that question of what keeps me here if there is such a loss of what might be termed an artistic/alternative culture soul to San Francisco. Living outside the city, I have to wonder about what it is that will keep me coming back.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/andrewshoultz.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"\">\u003c/p>\n\u003ch2>Andrew Schoultz\u003c/h2>\n\u003cp>Some artists are reluctant to talk about displacement because it runs counter to a sense of ruthless optimism inherent to the Bay Area. Many are committed to seeing positive possibilities in recent changes, even if these possibilities come at the expense of others. Artist Andrew Schoultz, a former fixture in the San Francisco art scene, spoke about this pervasive disinterest in negativity in a telephone conversation for this article. “A lot of people would say, you know, ‘Get over it. This is happening.’ Only when someone is personally affected or someone they know is displaced does the conversation change.”\u003c/p>\n\u003cp>Schoultz was evicted from his first San Francisco apartment in the 1990s boom and persisted in the city for 17 years before opting to move to Los Angeles earlier this year. “San Francisco \u003ca href=\"http://blog.sfgate.com/cityinsider/2013/04/21/s-f-names-2013-year-of-the-child-despite-having-so-few-of-them/\">isn’t conducive to having a family\u003c/a>,” he said. “The city’s turned into a culture of extreme entitlement. There isn’t a philanthropic interest, it’s cutthroat with an air of privilege that wasn’t part of the first dot boom. Even the murals that some companies commission for their offices are a low investment in the community: if they change their minds later, they figure they can just paint over them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/ruznichagler.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"josh hagler and maja ruznic\">\u003c/p>\n\u003ch2>Josh Hagler and Maja Ruznic\u003c/h2>\n\u003cp>This sense of the longstanding art community’s disposability is widely shared by some and dismissed by others. Artist Josh Hagler, who earlier this year moved from San Francisco to Los Angeles with artist Maja Ruznic, sees it as changing values, and notes that if he belabored the point on Facebook, some friends would respond with distanced explanations of economics. “A common sentiment, ‘I guess ‘they’ will just have to learn to adapt’ seemed to afford them distance from feeling and experiencing what is going on right now on the ground.”\u003c/p>\n\u003cp>For Ruznic, whose family arrived in the city in the 1990s as refugees from Bosnia, San Francisco is home. Her mother and sister still live in the same rent-controlled apartment from when they arrived. The stability of their living arrangement is a source of constant concern for the artist, who admits to struggling so hard to survive in the Bay Area that she supplemented her rent with credit cards. It is “a sad unfortunate situation facing not only artists, but all those not in the tech world,” she said.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/WalterRobinson.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"walter robinson\">\u003c/p>\n\u003ch2>Walter Robinson\u003c/h2>\n\u003cp>Longtime San Francisco artist Walter Robinson, who has called the Bay Area home his entire life, is planning to move to New Mexico later this year. “Although we could stay, we are not liking what San Francisco and the Bay Area have become,” he said. “Money is an issue insofar as we are at an age where the numbers have to make better sense to get us further down the road. This is a young and wealthy person’s town now… I’ve seen it go through all these changes over the years, but things have really changed here in the last year. People ask me, ‘Aren’t you going to miss the Bay Area?’ And I say that I already do. It’s not the same Bay Area it once was before.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/reneyanez.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"rene yanez\">\u003c/p>\n\u003ch2>Rene Yañez\u003c/h2>\n\u003cp>Rene Yañez believes city arts leadership needs to take a position about the changes confronting artists and nonprofit cultural organizations. “I want to see the San Francisco Art Commission take a public stance on what is happening to the art community,” he said. “There is a long history of San Francisco and the city supporting artists — the arts commission should be tackling this issue as part of their agenda, organizing panels with artists and giving the community a chance to have their say. We need public events with artists and the new tech community to figure out how to create an audience and to discuss the future of San Francisco’s culture.” Asked if he imagines leaving the city, he said, “I am trying very hard not to leave, but spaces in the Mission have now become a status symbol.”\u003c/p>\n\u003ch2>Moving Forward\u003c/h2>\n\u003cp>Perhaps because the Bay Area has seen artists come and go habitually over the years, it’s tempting to assume a kind of stoicism in the face of the present exodus. Certainly there are many great artists here still. The cultural community remains tight knit, if somewhat polarized by the debate about how to consider recent shifts. Many are focused on the immediacy of so much displacement, including an organizing entity online called \u003ca href=\"https://defendthebayarea.org/\">Defend the Bay Area\u003c/a>, which offers to coordinate assemblies and other events for a kick-off week of actions through April 5, 2014. Others are interested in exploring an equitable relationship between art and technology. An open Facebook group called \u003ca href=\"https://www.facebook.com/groups/651492394900813/#_=_\">Re-engineering: Art/Tech/City\u003c/a>, composed of hundreds of artists, writers and the like, offers “a public forum for solutions… where art and tech can flourish.”\u003c/p>\n\u003cp>Similarly, \u003ca href=\"https://twitter.com/ArtupSF\">Artup\u003c/a> is “a platform for discussion and tangible engagement focused on issues of cultural economics, modes of production, and the confluence of technology and art.” Fiscally sponsored by the Gray Area Foundation for the Arts and organized in partnership with Bay Area online arts journal \u003ca href=\"http://www.artpractical.com/\">\u003ci>Art Practical\u003c/i>\u003c/a>, Artup organizes “meetups” and distributes a periodic grant to support projects that engage art and technology.\u003c/p>\n\u003cp>Behind the recent attrition of artists, art nonprofits and commercial galleries, pressing questions remain about how to cultivate sustainability in this new paradigm, questions that extend well beyond the concerns of the art community. Is this a crisis? Or is it an opportunity for reinvention? For anyone who cares about living in the Bay Area, with all of its sunny diversity, it should be seen as both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This is the second in a series by Christian L. Frock that explores the impact of new tech wealth on artists and the art community. The \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">first article\u003c/a> titled “Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene” explored the impact on galleries and non-profit organizations and was published on March 7, 2014. Forthcoming installments will consider local changes in relation to the arts across the country, relevant histories and new strategies to preserve the arts and their legacies.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10134606/priced-out-san-franciscos-changing-values-and-artist-exodus","authors":["58"],"series":["arts_407"],"categories":["arts_235"],"tags":["arts_163"],"featImg":"arts_10134659","label":"arts_407"},"arts_128429":{"type":"posts","id":"arts_128429","meta":{"index":"posts_1591205157","site":"arts","id":"128429","score":null,"sort":[1395147638000]},"guestAuthors":[],"slug":"priced-out-saying-good-bye-to-the-myth-of-san-francisco","title":"Priced Out: Saying Good-bye to the Myth of San Francisco","publishDate":1395147638,"format":"image","headTitle":"Priced Out: Saying Good-bye to the Myth of San Francisco | KQED","labelTerm":{"term":407,"site":"arts"},"content":"\u003cp>I have loved and lost San Francisco multiple times during our tempestuous, decades-long relationship. I understand that it is through the sheer generosity (or benign negligence) of my landlord that I can afford to stay in the city and make my way as an artist, but one day soon a strong wind will blow my house down and I will have to move away. I can feel my grip on the city loosening and, as the discussion or the argument (or maybe it’s just a bitchfest) over the future of the city’s cultural life intensifies, I also feel myself unable to step up to my fickle lover’s defense.\u003c/p>\n\u003cp>I mangle this metaphor as I regurgitate it (shout out to recent posts by \u003ca href=\"http://www.thebolditalic.com/articles/4261-all-my-friends-are-moving-to-los-angeles\">Michelle Tea\u003c/a> and Stephanie Syjuco, in particular), but San Francisco really is like a boyfriend/girlfriend (possibly trans) who knows he/she is hotter than you and is constantly on the lookout for a more worthy mate. Maybe that mate is smarter or more beautiful. Or maybe just wealthier; I didn’t know the city was a gold digger, although with its roots in the Gold Rush I should have suspected. This is an important part of the city’s history that is often overlooked: the lure of the boom looms large.\u003c/p>\n\u003cp>San Francisco never ages, he/she is consistently seductive, a natural beauty and an enduring idea. But as we negotiate our breakup, I wonder if it’s possible to see my beloved more clearly. How much am I dazzled by my own projections and how much is really there? How much was always a myth?\u003c/p>\n\u003ch2>Where the Outsiders Are In\u003c/h2>\n\u003cp>The myth becomes true if enough people invest it with power. That was certainly the case for the Beats in the 1950s, and for the hippies during the Summer of Love. It was also undeniably true of the city as gay world capital, a ’70s haven on the cutting edge of queer rights and culture and then ’80s refuge for a community buffeted by the scourge of AIDS.\u003c/p>\n\u003cp>When I arrived, the gay party was already over. Bathhouses were embattled and being closed by the health department; young men hobbled down the streets, reduced to purple-spotted skin and bones. The queer community was tired, devastated by the amount of adult reality it had been forced to face and the hatred and bigotry that was being foisted upon it during its time of greatest need. There were no mentors. There was no one around to take a young, confused boy — drawn to the city with the promise of belonging — by the hand, welcome him into the fold and teach him how to be healthy, well-adjusted and gay. Perhaps that was the first time I saw through the myth to the reality and understood that it would be up to me to build my own community. I searched the streets for others like me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I discovered them squirreled away within various warehouses in the Mission and South of Market Districts. Drawn by cheap rents, artists (at that time predominantly middle and working class, with a healthy mix of immigrants, runaways, hustlers and the occasional trust fund slummer) had begun invading these once largely Latino and light industrial neighborhoods, but not yet in numbers so great that a real displacement was being felt. However, aren’t we artists the first sign of a coming neighborhood apocalypse? Didn’t we make the space safe for the kind of capitalism that is now pushing us out?\u003c/p>\n\u003cfigure id=\"attachment_128431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\" alt=\"cliff hengst\" width=\"640\" height=\"480\" class=\"size-full wp-image-128431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I often wonder at the loud protestations of today’s artists when they, too, are being displaced. Weren’t the same things said when we first arrived to take advantage of cheap rents? Then our friends came to visit and realized the neighborhood wasn’t as bad as it had been portrayed. And then slowly things began to change. The local diner became a coffee shop serving better coffee at a higher price. The local junk shop turned “vintage,” marketing the same stuff only perceived and valued in a different way. Cheap ethnic eatery gets taken over by an eager chef wanting to strike out on her own and make good food using local ingredients. Prices rise; the economic engine gets going, speeds up and there’s no telling when or where it will come to a stop.\u003c/p>\n\u003cp>And what cycle, I wonder, will overtake the techies who are even now changing the neighborhoods that attract them? What will replace the creative industry of the artists who are being forced to flee? This new group is being drawn to the city by the same things that drew previous populations: a thriving culture and the presence of like-minded individuals. In the San Francisco of today, techies can find others who speak their language and share their visions of a digital utopia, whatever shapes that may take. They have created a culture of start-up entrepreneurialism that has altered the atmosphere and with it comes a whole new set of values and priorities both public and private.\u003c/p>\n\u003ch2>San Francisco: The Suburb\u003c/h2>\n\u003cp>The process of continuous change and re-invention is an important element to keeping a city alive. However, there is something puzzling and counter-intuitive about this or any city becoming a bedroom community to an industry located elsewhere — especially one \u003ca href=\"http://www.nytimes.com/2014/03/16/opinion/sunday/the-rise-of-anti-capitalism.html\">premised on replacing occupations with apps and moving whole industries into “the cloud.”\u003c/a> It is easy to view this activity as a drain. Disruptive tech lives up to its name while the rate of change becomes dizzying. (See David Talbot’s \u003ca href=\"http://48hillsonline.org/2014/03/14/san-francisco-bust-class-war-need-stand-fight-save-city/\">\u003ci>San Francisco or bust\u003c/i>\u003c/a> at 48hillsonline.org for more on this subject.)\u003c/p>\n\u003cp>Living with this kind of uncertainty inevitably causes conflict. Yes, more tech money has arrived in the city, but it has brought a whole new kind of energy that, in some sectors, has created fertile ground for new kinds of experimentation and innovation — and possibly new forms of art. But that art hasn’t arrived yet. In the age of the 3-D printer, are we entering a period where conceptual art — in the form of printer instructions — overtakes object art? This question, which has been posed for decades in the art world, just hurts my heart, perhaps because I am so attached to practice, tactility and craft. I understand the years of work that go in to becoming good at something. Is object making integral to what it means to be human? Or was it during the part of our evolution that is now passing?\u003c/p>\n\u003cp>I keep hearing a small voice inside telling me that something important is being lost, but I can’t put my finger on what it is. I know that the \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">closure of so many galleries and art spaces\u003c/a> means a shrinking art scene with fewer opportunities for artists to exhibit, sell work and build support for their practice. Most importantly, the middle ground of the mid-career professional — the space inhabited by working artists (in other words the middle class) — is crumbling. \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket\">How will today’s emerging artists survive\u003c/a>, much less thrive? As an artist, this information translates into a statement that should be unthinkable: “San Francisco is over.”\u003c/p>\n\u003cfigure id=\"attachment_128432\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\" alt=\"Cliff Hengst, from Gotta get a message to you, 2014; courtesy of the artist and Right Window\" width=\"640\" height=\"480\" class=\"size-full wp-image-128432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life Is Hard and Then You Die\u003c/h2>\n\u003cp>Perhaps these issues are so difficult because of art’s dual nature. On the one hand, artists create ephemeral gestures that capture and inflect what it is like to BE HERE NOW. When people say that impacted artists and arts organizations should just move to another part of the Bay, they ignore two important points. First, being priced out is not limited to the city alone — and displacements domino. Secondly, how does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.”\u003c/p>\n\u003c/aside>\n\u003cp>The other part of the art equation is the eternal. We make new art alongside and in dialogue with the towering masters who have withstood the test of time. When we think of art, we often conjure images that seemingly stand outside of history. Perhaps this idea of timelessness is factored in to the emotion around losing an art space as opposed to some other enterprise. Art’s juxtaposition of the ephemeral and the permanent is what makes it so vital.\u003c/p>\n\u003cp>This duality is also there when we think of home. Though it is disconcerting to contemplate, the city we call home is not permanent — we only need another big quake to demonstrate that fact — and we are even more temporary residents. For a brief moment, we take ownership and shape the space to suit our needs.\u003c/p>\n\u003cp>Problem is, eviction from one’s home or community cannot help but feel personal. One can only imagine how the older gay men who survived hatred, discrimination and the AIDS crisis only to be \u003ca href=\"http://ww2.kqed.org/news/2013/10/02/113651/evictions-displace-gay-men-with-aids\">swept out of The Castro\u003c/a> by babies in strollers must feel. Perhaps the same way the Irish working class families felt when they were displaced by queers. This must be what it’s like to get old: You spend your whole life nurturing something that disregards your contribution, devalues and ultimately discards you. Such is the cycle of life.\u003c/p>\n\u003ch2>Belonging, Diversity, Social Justice: There’s an App for That\u003c/h2>\n\u003cp>Someone recently posted on one of KQED Arts’ message boards about being a misfit and looking to San Francisco as a place where misfits somehow belong — another of the city’s myths. This made me sad and I felt compelled to respond because the very definition of a misfit is someone who doesn’t fit, and it seemed that the writer was confused about a basic tenet of his or her own assumed identity. As humans we are compelled to search out others of like mind and create community, yet there are also those of us who identify strongly as outsiders. An outsider will always be looking in with melancholy, it is part of who we are, and in the age of the global popularity contest called Facebook, being “liked” has puzzlingly become part of our job description. What does that mean for the “other”? How can the city have gone from a Mecca for misfits to the leading exporter of a culture of “like”?\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How can the city have gone from a Mecca for misfits to the leading exporter of a culture of ‘like’?”\u003c/p>\n\u003c/aside>\n\u003cp>So, what are the myths we tell ourselves about the meaning of San Francisco? And is it possible to separate what we see (and what we want to see) from what’s really there? Resisting cultural change is a fool’s errand, though not fighting for what you believe in is equally abhorrent. But are we fighting to save something that has already vanished? Or, worse yet, may never have been there in the first place? What San Francisco are you trying to hold onto? What role did you play in creating the San Francisco that now exists, and is forcing you out? Can you let your beloved move on to grow, change and become something you no longer recognize — someone you would never fall for and someone who wouldn’t give you the time of day?\u003c/p>\n\u003cp>When I look back on my three decades in the city, I know that it was the cheap rent, from the walk-in closet I occupied for $90/month to the $300/month room I rented in Dogpatch, that made it possible for me to do things like attend school and dedicate myself to an art practice. But how do college students do it now? I pride myself for having lived in every bad neighborhood in San Francisco, but they are all upscale now. How is it possible for a barista to afford a walk-in closet even in the Tenderloin? And how does a city continue to function if the workers — bus drivers, teachers, waiters, and yes, artists — who are responsible for its services can no longer afford to live here?\u003c/p>\n\u003cfigure id=\"attachment_128433\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\" alt=\"cliff hengst my city was gone from gotta get a message to you 2014\" width=\"640\" height=\"636\" class=\"size-full wp-image-128433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-300x298.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I was shocked a couple of months back — or was it longer? (the pace of change creates its own alternate universe of time) — to discover that the Hayes Street drag bar Marlena’s had been replaced by a new swanky, upscale — and packed — bar with a front window that opened out onto the street. As I walked past, two young dudes stood out front smoking what looked like oversized cartoon cigars. I remembered this incident recently after hearing the Mission drag bar Esta Noche \u003ca href=\"http://blogs.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\">was being replaced by something similar\u003c/a>. It was an interesting feeling.\u003c/p>\n\u003cp>I hadn’t been to Marlena’s in over a decade and it had never been a favorite hangout, but I found solace in the fact of its existence. When it disappeared I was shocked, which was a feeling made more absurd by the fact of Hayes Valley itself. Back in the late 1980s, when I lived on Hayes and Fillmore, that place was underneath a freeway and the idea of it populated with upscale boutiques and eateries would have been laughable. But Marlena’s was there, along with the nightly street theater provided by its colorful patrons. Where do they perform now? And who gets to find amusement in their alternate universe of drama and comedy? Who will love the misfits while they survive? And when they are gone, how will we know what we have lost?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All artwork by Cliff Hengst from \u003ci>Gotta get a message to you\u003c/i>, a month-long residency at \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>. A new message appears every day through March, 2014. Closing party Sunday, March 30, 5-7pm.\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco: boom town, progressive leader, Mecca for misfits -- which myths are still true today? How much are we dazzled by our own projections and how much is really there? How much was always a myth?","status":"publish","parent":0,"modified":1705049240,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":2428},"headData":{"title":"Priced Out: Saying Good-bye to the Myth of San Francisco | KQED","description":"San Francisco: boom town, progressive leader, Mecca for misfits -- which myths are still true today? How much are we dazzled by our own projections and how much is really there? How much was always a myth?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Priced Out: Saying Good-bye to the Myth of San Francisco","datePublished":"2014-03-18T13:00:38.000Z","dateModified":"2024-01-12T08:47:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"current-events","path":"/arts/128429/priced-out-saying-good-bye-to-the-myth-of-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have loved and lost San Francisco multiple times during our tempestuous, decades-long relationship. I understand that it is through the sheer generosity (or benign negligence) of my landlord that I can afford to stay in the city and make my way as an artist, but one day soon a strong wind will blow my house down and I will have to move away. I can feel my grip on the city loosening and, as the discussion or the argument (or maybe it’s just a bitchfest) over the future of the city’s cultural life intensifies, I also feel myself unable to step up to my fickle lover’s defense.\u003c/p>\n\u003cp>I mangle this metaphor as I regurgitate it (shout out to recent posts by \u003ca href=\"http://www.thebolditalic.com/articles/4261-all-my-friends-are-moving-to-los-angeles\">Michelle Tea\u003c/a> and Stephanie Syjuco, in particular), but San Francisco really is like a boyfriend/girlfriend (possibly trans) who knows he/she is hotter than you and is constantly on the lookout for a more worthy mate. Maybe that mate is smarter or more beautiful. Or maybe just wealthier; I didn’t know the city was a gold digger, although with its roots in the Gold Rush I should have suspected. This is an important part of the city’s history that is often overlooked: the lure of the boom looms large.\u003c/p>\n\u003cp>San Francisco never ages, he/she is consistently seductive, a natural beauty and an enduring idea. But as we negotiate our breakup, I wonder if it’s possible to see my beloved more clearly. How much am I dazzled by my own projections and how much is really there? How much was always a myth?\u003c/p>\n\u003ch2>Where the Outsiders Are In\u003c/h2>\n\u003cp>The myth becomes true if enough people invest it with power. That was certainly the case for the Beats in the 1950s, and for the hippies during the Summer of Love. It was also undeniably true of the city as gay world capital, a ’70s haven on the cutting edge of queer rights and culture and then ’80s refuge for a community buffeted by the scourge of AIDS.\u003c/p>\n\u003cp>When I arrived, the gay party was already over. Bathhouses were embattled and being closed by the health department; young men hobbled down the streets, reduced to purple-spotted skin and bones. The queer community was tired, devastated by the amount of adult reality it had been forced to face and the hatred and bigotry that was being foisted upon it during its time of greatest need. There were no mentors. There was no one around to take a young, confused boy — drawn to the city with the promise of belonging — by the hand, welcome him into the fold and teach him how to be healthy, well-adjusted and gay. Perhaps that was the first time I saw through the myth to the reality and understood that it would be up to me to build my own community. I searched the streets for others like me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I discovered them squirreled away within various warehouses in the Mission and South of Market Districts. Drawn by cheap rents, artists (at that time predominantly middle and working class, with a healthy mix of immigrants, runaways, hustlers and the occasional trust fund slummer) had begun invading these once largely Latino and light industrial neighborhoods, but not yet in numbers so great that a real displacement was being felt. However, aren’t we artists the first sign of a coming neighborhood apocalypse? Didn’t we make the space safe for the kind of capitalism that is now pushing us out?\u003c/p>\n\u003cfigure id=\"attachment_128431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\" alt=\"cliff hengst\" width=\"640\" height=\"480\" class=\"size-full wp-image-128431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I often wonder at the loud protestations of today’s artists when they, too, are being displaced. Weren’t the same things said when we first arrived to take advantage of cheap rents? Then our friends came to visit and realized the neighborhood wasn’t as bad as it had been portrayed. And then slowly things began to change. The local diner became a coffee shop serving better coffee at a higher price. The local junk shop turned “vintage,” marketing the same stuff only perceived and valued in a different way. Cheap ethnic eatery gets taken over by an eager chef wanting to strike out on her own and make good food using local ingredients. Prices rise; the economic engine gets going, speeds up and there’s no telling when or where it will come to a stop.\u003c/p>\n\u003cp>And what cycle, I wonder, will overtake the techies who are even now changing the neighborhoods that attract them? What will replace the creative industry of the artists who are being forced to flee? This new group is being drawn to the city by the same things that drew previous populations: a thriving culture and the presence of like-minded individuals. In the San Francisco of today, techies can find others who speak their language and share their visions of a digital utopia, whatever shapes that may take. They have created a culture of start-up entrepreneurialism that has altered the atmosphere and with it comes a whole new set of values and priorities both public and private.\u003c/p>\n\u003ch2>San Francisco: The Suburb\u003c/h2>\n\u003cp>The process of continuous change and re-invention is an important element to keeping a city alive. However, there is something puzzling and counter-intuitive about this or any city becoming a bedroom community to an industry located elsewhere — especially one \u003ca href=\"http://www.nytimes.com/2014/03/16/opinion/sunday/the-rise-of-anti-capitalism.html\">premised on replacing occupations with apps and moving whole industries into “the cloud.”\u003c/a> It is easy to view this activity as a drain. Disruptive tech lives up to its name while the rate of change becomes dizzying. (See David Talbot’s \u003ca href=\"http://48hillsonline.org/2014/03/14/san-francisco-bust-class-war-need-stand-fight-save-city/\">\u003ci>San Francisco or bust\u003c/i>\u003c/a> at 48hillsonline.org for more on this subject.)\u003c/p>\n\u003cp>Living with this kind of uncertainty inevitably causes conflict. Yes, more tech money has arrived in the city, but it has brought a whole new kind of energy that, in some sectors, has created fertile ground for new kinds of experimentation and innovation — and possibly new forms of art. But that art hasn’t arrived yet. In the age of the 3-D printer, are we entering a period where conceptual art — in the form of printer instructions — overtakes object art? This question, which has been posed for decades in the art world, just hurts my heart, perhaps because I am so attached to practice, tactility and craft. I understand the years of work that go in to becoming good at something. Is object making integral to what it means to be human? Or was it during the part of our evolution that is now passing?\u003c/p>\n\u003cp>I keep hearing a small voice inside telling me that something important is being lost, but I can’t put my finger on what it is. I know that the \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">closure of so many galleries and art spaces\u003c/a> means a shrinking art scene with fewer opportunities for artists to exhibit, sell work and build support for their practice. Most importantly, the middle ground of the mid-career professional — the space inhabited by working artists (in other words the middle class) — is crumbling. \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket\">How will today’s emerging artists survive\u003c/a>, much less thrive? As an artist, this information translates into a statement that should be unthinkable: “San Francisco is over.”\u003c/p>\n\u003cfigure id=\"attachment_128432\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\" alt=\"Cliff Hengst, from Gotta get a message to you, 2014; courtesy of the artist and Right Window\" width=\"640\" height=\"480\" class=\"size-full wp-image-128432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life Is Hard and Then You Die\u003c/h2>\n\u003cp>Perhaps these issues are so difficult because of art’s dual nature. On the one hand, artists create ephemeral gestures that capture and inflect what it is like to BE HERE NOW. When people say that impacted artists and arts organizations should just move to another part of the Bay, they ignore two important points. First, being priced out is not limited to the city alone — and displacements domino. Secondly, how does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.”\u003c/p>\n\u003c/aside>\n\u003cp>The other part of the art equation is the eternal. We make new art alongside and in dialogue with the towering masters who have withstood the test of time. When we think of art, we often conjure images that seemingly stand outside of history. Perhaps this idea of timelessness is factored in to the emotion around losing an art space as opposed to some other enterprise. Art’s juxtaposition of the ephemeral and the permanent is what makes it so vital.\u003c/p>\n\u003cp>This duality is also there when we think of home. Though it is disconcerting to contemplate, the city we call home is not permanent — we only need another big quake to demonstrate that fact — and we are even more temporary residents. For a brief moment, we take ownership and shape the space to suit our needs.\u003c/p>\n\u003cp>Problem is, eviction from one’s home or community cannot help but feel personal. One can only imagine how the older gay men who survived hatred, discrimination and the AIDS crisis only to be \u003ca href=\"http://ww2.kqed.org/news/2013/10/02/113651/evictions-displace-gay-men-with-aids\">swept out of The Castro\u003c/a> by babies in strollers must feel. Perhaps the same way the Irish working class families felt when they were displaced by queers. This must be what it’s like to get old: You spend your whole life nurturing something that disregards your contribution, devalues and ultimately discards you. Such is the cycle of life.\u003c/p>\n\u003ch2>Belonging, Diversity, Social Justice: There’s an App for That\u003c/h2>\n\u003cp>Someone recently posted on one of KQED Arts’ message boards about being a misfit and looking to San Francisco as a place where misfits somehow belong — another of the city’s myths. This made me sad and I felt compelled to respond because the very definition of a misfit is someone who doesn’t fit, and it seemed that the writer was confused about a basic tenet of his or her own assumed identity. As humans we are compelled to search out others of like mind and create community, yet there are also those of us who identify strongly as outsiders. An outsider will always be looking in with melancholy, it is part of who we are, and in the age of the global popularity contest called Facebook, being “liked” has puzzlingly become part of our job description. What does that mean for the “other”? How can the city have gone from a Mecca for misfits to the leading exporter of a culture of “like”?\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How can the city have gone from a Mecca for misfits to the leading exporter of a culture of ‘like’?”\u003c/p>\n\u003c/aside>\n\u003cp>So, what are the myths we tell ourselves about the meaning of San Francisco? And is it possible to separate what we see (and what we want to see) from what’s really there? Resisting cultural change is a fool’s errand, though not fighting for what you believe in is equally abhorrent. But are we fighting to save something that has already vanished? Or, worse yet, may never have been there in the first place? What San Francisco are you trying to hold onto? What role did you play in creating the San Francisco that now exists, and is forcing you out? Can you let your beloved move on to grow, change and become something you no longer recognize — someone you would never fall for and someone who wouldn’t give you the time of day?\u003c/p>\n\u003cp>When I look back on my three decades in the city, I know that it was the cheap rent, from the walk-in closet I occupied for $90/month to the $300/month room I rented in Dogpatch, that made it possible for me to do things like attend school and dedicate myself to an art practice. But how do college students do it now? I pride myself for having lived in every bad neighborhood in San Francisco, but they are all upscale now. How is it possible for a barista to afford a walk-in closet even in the Tenderloin? And how does a city continue to function if the workers — bus drivers, teachers, waiters, and yes, artists — who are responsible for its services can no longer afford to live here?\u003c/p>\n\u003cfigure id=\"attachment_128433\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\" alt=\"cliff hengst my city was gone from gotta get a message to you 2014\" width=\"640\" height=\"636\" class=\"size-full wp-image-128433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-300x298.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I was shocked a couple of months back — or was it longer? (the pace of change creates its own alternate universe of time) — to discover that the Hayes Street drag bar Marlena’s had been replaced by a new swanky, upscale — and packed — bar with a front window that opened out onto the street. As I walked past, two young dudes stood out front smoking what looked like oversized cartoon cigars. I remembered this incident recently after hearing the Mission drag bar Esta Noche \u003ca href=\"http://blogs.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\">was being replaced by something similar\u003c/a>. It was an interesting feeling.\u003c/p>\n\u003cp>I hadn’t been to Marlena’s in over a decade and it had never been a favorite hangout, but I found solace in the fact of its existence. When it disappeared I was shocked, which was a feeling made more absurd by the fact of Hayes Valley itself. Back in the late 1980s, when I lived on Hayes and Fillmore, that place was underneath a freeway and the idea of it populated with upscale boutiques and eateries would have been laughable. But Marlena’s was there, along with the nightly street theater provided by its colorful patrons. Where do they perform now? And who gets to find amusement in their alternate universe of drama and comedy? Who will love the misfits while they survive? And when they are gone, how will we know what we have lost?\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>All artwork by Cliff Hengst from \u003ci>Gotta get a message to you\u003c/i>, a month-long residency at \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>. A new message appears every day through March, 2014. Closing party Sunday, March 30, 5-7pm.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/128429/priced-out-saying-good-bye-to-the-myth-of-san-francisco","authors":["8"],"series":["arts_407"],"categories":["arts_235"],"tags":["arts_163"],"featImg":"arts_128430","label":"arts_407"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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