In New SFMOMA Show, Tauba Auerbach Creates a World All Their Own
SFMOMA Director Neal Benezra Steps Down
SFMOMA Faces Censorship, Racism Accusations Over George Floyd Response
Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF
SFMOMA, California Academy of Sciences Offer Free Admission for Fire Relief
California College of the Arts Campus Consolidation Spurs Union Effort
SFMOMA, de Young Offering Free Admission This Weekend
On The Air: Cy Musiker and John Vanderlice's Do LIst Picks for March 2, 2018
Asian Art Museum Moves Toward $90 Million Transformation
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She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13907457":{"type":"posts","id":"arts_13907457","meta":{"index":"posts_1591205157","site":"arts","id":"13907457","score":null,"sort":[1640110286000]},"guestAuthors":[],"slug":"tauba-auerbach-s-v-z-sfmoma-review","title":"In New SFMOMA Show, Tauba Auerbach Creates a World All Their Own","publishDate":1640110286,"format":"standard","headTitle":"In New SFMOMA Show, Tauba Auerbach Creates a World All Their Own | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/tauba-auerbach-s-v-z/\" target=\"_blank\" rel=\"noopener noreferrer\">S v Z\u003c/a>\u003c/i> is one of the many shows that got waylaid by the pandemic, part of a backlog of promising exhibitions finally washing up on institutional shores. As a result, Tauba Auerbach’s first museum survey straddles the San Francisco Museum of Modern Art’s long closure in telling ways. Its \u003ca href=\"https://museumstore.sfmoma.org/collections/books-sfmoma-publications/products/tauba-auerbach-s-v-z-410000398104\" target=\"_blank\" rel=\"noopener noreferrer\">catalog\u003c/a>—luxuriously printed and meticulously designed, more artist book than exhibition publication—came out in 2020, long before \u003ca href=\"https://www.kqed.org/arts/13900017/sfmoma-cuts-several-programs-and-staff-positions-citing-declining-attendance\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA announced\u003c/a> it would “reduce the number and scale of publications.” The show’s newest work, and the first piece viewers see, speaks directly to the pandemic that allowed for its inclusion: a painting of the Earth made wildly unfamiliar by custom mapping software.\u003c/p>\n\u003cp>\u003ci>S v Z\u003c/i> is a product of both the before- and now-times, but it also serves as an example of what SFMOMA could yet \u003ci>become\u003c/i>: an institution that gives contemporary artists the space and support to manifest a world all their own.\u003c/p>\n\u003cfigure id=\"attachment_13907462\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200.jpg\" alt=\"Painting in hues of green that looks wrinkled.\" width=\"1200\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-768x960.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach, ‘Untitled (Fold),’ 2011. \u003ccite>(©Tauba Auerbach; Photo: Steven Probert, courtesy the artist and Paula Cooper Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in San Francisco and currently living in New York, Auerbach might be most familiar to viewers for their \u003ci>Fold\u003c/i> paintings—canvases creased and sprayed with acrylic paint before being stretched tight, yielding an opalescent trompe l’oeil of former wrinkles. These paintings are mesmerizing; the desire to run a hand over their now-smooth surfaces is difficult to contain. But \u003ci>S v Z\u003c/i>, organized by SFMOMA curators Joseph Becker and Jenny Gheith, demonstrates this was just one experiment in the artist’s wide-ranging and continually inventive practice.\u003c/p>\n\u003cp>Contained within the survey are all manner of artistic approaches: drawings, paintings, kinetic sculpture, glasswork, video, artist books, multiples, wearable “marginalia,” printmaking, flags—even a version of a mural once applied across the surfaces of a \u003ca href=\"https://www.publicartfund.org/exhibitions/view/tauba-auerbach-flow-separation/\" target=\"_blank\" rel=\"noopener noreferrer\">New York City fireboat\u003c/a>. Auerbach routinely examines that which is often taken for granted (e.g. the “components” of the alphabet), tapping into mathematical and scientific theories and mastering new modes of making with each interconnected project.\u003c/p>\n\u003cp>Even when the concepts underpinning a piece are beyond the grasp of the casual non-STEM-educated observer, Auerbach translates their research into tangible, sublimely beautiful forms. \u003ci>The New Ambidextrous Universe III\u003c/i>, a single sheet of plywood cut into wavy strips and rearranged in reverse order, approximates what the object would look like if it rotated through four-dimensional space and “returned as its mirror image.” It’s a mind-boggling premise, but the eye takes in what the brain cannot. The effect is something akin to moving an image as a scanner passes over it—a blip in the space/time continuum.\u003c/p>\n\u003cfigure id=\"attachment_13907461\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200.jpg\" alt=\"Yellow on black painting.\" width=\"1200\" height=\"835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-768x534.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach, detail of ‘Extended Object,’ 2018. \u003ccite>(© Tauba Auerbach; Photo: Steven Probert, courtesy of the artist and Paula Cooper Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the mechanisms or materials don’t yet exist to bring an idea to fruition, Auerbach creates custom tools and formulations. The painting series \u003ci>Extended Objects\u003c/i>—glossy surfaces of wobbly color—relies on a custom-formulated additive that allows acrylic paint to flow through “unique pouring tools.” In \u003ci>7S, 7Z, 1S, 2Z\u003c/i>, a custom mix of soap creates a bubble-like film between expanding and contracting interwoven steel cables. And in the exhibition’s most tucked-away corner, 26 original type specimen posters from Auerbach’s imprint, \u003ca href=\"https://diagonalpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diagonal Press\u003c/a>, hang like heraldic flags on one wall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What is an artwork but an invention called by another name? In that mindset, \u003ci>Altar/Engine\u003c/i>, a broad and low blue table covered in sculptural forms, begins to look like the exploded parts of a custom Auerbach machine. Evenly lit and made up of what the artist calls “profound shapes,” \u003ci>Altar/Engine\u003c/i> practically glows with otherworldliness. What could these 126 carefully placed parts cohere into? What future technology—or theoretical something—are we seeing made real?\u003c/p>\n\u003cp>\u003ci>S v Z\u003c/i> is an exhibition, but it is also a glimpse into a laboratory of ceaseless and prodigious making. Vertical display strategies and iterative series gesture at a barely contained practice. Every aspect of the presentation asks visitors to look around them as Auerbach does: more closely, noticing patterns and arrangements of objects in space. (Keep an eye out for the intermittent punctuation of Diagonal Press pins stuck directly into the exhibition’s black walls.)\u003c/p>\n\u003cfigure id=\"attachment_13907464\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200.jpg\" alt=\"View of exhibition space with black walls, paintings and sculptures.\" width=\"1200\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-768x484.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘S v Z‘ with ‘Altar/Engine’ in the foreground. \u003ccite>(Matthew Millman Photography, courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if one doesn’t immediately grok the 30-degree axis along which the show’s pedestals sit, there’s a pleasing harmony in the gallery space, all of which can be taken in from the exhibition’s center. We feel Auerbach’s hand here too, a sense of being guided through a well-orchestrated arrangement.\u003c/p>\n\u003cp>Speaking of arrangements (and instruments), the most elaborate and complex of Auerbach’s sculptures is another invention of sorts, this one assembled and in working order. \u003ci>Auerglass Organ\u003c/i>, a massive, collaboratively played wood instrument, sits on a circle of red carpet like the VIP it is. Created in 2009 with the musician Glasser (Cameron Mesirow), the organ is another near-symmetrical thing. A full keyboard is split between its two sides, each player pumping the foot pedals that provide air for their partner’s notes.\u003c/p>\n\u003cp>Auerbach and Glasser have written three pieces for the instrument, and will perform on it at a Feb. 3 event. But SFMOMA has also invited students from the San Francisco Conservatory of Music, San Francisco State University, and alumni from Mills College to create new works for an April 28 performance, which means others will be manipulating this strange and elegant beast of an organ for the first time.\u003c/p>\n\u003cp>It’s fitting that \u003ci>S v Z\u003c/i>, a show based on the principle of “and/or” (not “versus”) is a survey that acknowledges the involvement of many hands beyond the artist’s own. This extends from the assistance of \u003ca href=\"https://www.newbohemiasigns.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New Bohemia Signs\u003c/a> in painting the \u003ci>Flow Separation\u003c/i> mural to the double-tiered vitrines displaying objects and ephemera from the artist’s studio—materials that excite Auerbach’s art. In \u003ci>S v Z\u003c/i>, surrounded by helixes and waves, I vaguely remembered a concept from high school physics that Auerbach seems to put into practice. When two waves superimpose to form a single wave of greater amplitude, that’s called constructive interference.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Tauba Auerbach — S v Z’ is on view at the San Francisco Museum of Modern Art through May 1, 2022. \u003ca href=\"https://www.sfmoma.org/exhibition/tauba-auerbach-s-v-z/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A survey exhibition gathers 17 years of multidisciplinary work that pushes at the edges of visibility.","status":"publish","parent":0,"modified":1705007373,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1135},"headData":{"title":"Review: Tauba Auerbach’s ‘S v Z’ Dazzles at SFMOMA | KQED","description":"A survey exhibition gathers 17 years of multidisciplinary work that pushes at the edges of visibility.","ogTitle":"In New SFMOMA Show, Tauba Auerbach Creates a World All Their Own","ogDescription":"","ogImgId":"","twTitle":"In New SFMOMA Show, Tauba Auerbach Creates a World All Their Own","twDescription":"","twImgId":"","socialTitle":"Review: Tauba Auerbach’s ‘S v Z’ Dazzles at SFMOMA %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In New SFMOMA Show, Tauba Auerbach Creates a World All Their Own","datePublished":"2021-12-21T18:11:26.000Z","dateModified":"2024-01-11T21:09:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907457/tauba-auerbach-s-v-z-sfmoma-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/tauba-auerbach-s-v-z/\" target=\"_blank\" rel=\"noopener noreferrer\">S v Z\u003c/a>\u003c/i> is one of the many shows that got waylaid by the pandemic, part of a backlog of promising exhibitions finally washing up on institutional shores. As a result, Tauba Auerbach’s first museum survey straddles the San Francisco Museum of Modern Art’s long closure in telling ways. Its \u003ca href=\"https://museumstore.sfmoma.org/collections/books-sfmoma-publications/products/tauba-auerbach-s-v-z-410000398104\" target=\"_blank\" rel=\"noopener noreferrer\">catalog\u003c/a>—luxuriously printed and meticulously designed, more artist book than exhibition publication—came out in 2020, long before \u003ca href=\"https://www.kqed.org/arts/13900017/sfmoma-cuts-several-programs-and-staff-positions-citing-declining-attendance\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA announced\u003c/a> it would “reduce the number and scale of publications.” The show’s newest work, and the first piece viewers see, speaks directly to the pandemic that allowed for its inclusion: a painting of the Earth made wildly unfamiliar by custom mapping software.\u003c/p>\n\u003cp>\u003ci>S v Z\u003c/i> is a product of both the before- and now-times, but it also serves as an example of what SFMOMA could yet \u003ci>become\u003c/i>: an institution that gives contemporary artists the space and support to manifest a world all their own.\u003c/p>\n\u003cfigure id=\"attachment_13907462\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200.jpg\" alt=\"Painting in hues of green that looks wrinkled.\" width=\"1200\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/14.-Tauba-Auerbach_Untitled-Fold_1200-768x960.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach, ‘Untitled (Fold),’ 2011. \u003ccite>(©Tauba Auerbach; Photo: Steven Probert, courtesy the artist and Paula Cooper Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in San Francisco and currently living in New York, Auerbach might be most familiar to viewers for their \u003ci>Fold\u003c/i> paintings—canvases creased and sprayed with acrylic paint before being stretched tight, yielding an opalescent trompe l’oeil of former wrinkles. These paintings are mesmerizing; the desire to run a hand over their now-smooth surfaces is difficult to contain. But \u003ci>S v Z\u003c/i>, organized by SFMOMA curators Joseph Becker and Jenny Gheith, demonstrates this was just one experiment in the artist’s wide-ranging and continually inventive practice.\u003c/p>\n\u003cp>Contained within the survey are all manner of artistic approaches: drawings, paintings, kinetic sculpture, glasswork, video, artist books, multiples, wearable “marginalia,” printmaking, flags—even a version of a mural once applied across the surfaces of a \u003ca href=\"https://www.publicartfund.org/exhibitions/view/tauba-auerbach-flow-separation/\" target=\"_blank\" rel=\"noopener noreferrer\">New York City fireboat\u003c/a>. Auerbach routinely examines that which is often taken for granted (e.g. the “components” of the alphabet), tapping into mathematical and scientific theories and mastering new modes of making with each interconnected project.\u003c/p>\n\u003cp>Even when the concepts underpinning a piece are beyond the grasp of the casual non-STEM-educated observer, Auerbach translates their research into tangible, sublimely beautiful forms. \u003ci>The New Ambidextrous Universe III\u003c/i>, a single sheet of plywood cut into wavy strips and rearranged in reverse order, approximates what the object would look like if it rotated through four-dimensional space and “returned as its mirror image.” It’s a mind-boggling premise, but the eye takes in what the brain cannot. The effect is something akin to moving an image as a scanner passes over it—a blip in the space/time continuum.\u003c/p>\n\u003cfigure id=\"attachment_13907461\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200.jpg\" alt=\"Yellow on black painting.\" width=\"1200\" height=\"835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/4.-Tauba-Auerbach_-Extended-Object_1200-768x534.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach, detail of ‘Extended Object,’ 2018. \u003ccite>(© Tauba Auerbach; Photo: Steven Probert, courtesy of the artist and Paula Cooper Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the mechanisms or materials don’t yet exist to bring an idea to fruition, Auerbach creates custom tools and formulations. The painting series \u003ci>Extended Objects\u003c/i>—glossy surfaces of wobbly color—relies on a custom-formulated additive that allows acrylic paint to flow through “unique pouring tools.” In \u003ci>7S, 7Z, 1S, 2Z\u003c/i>, a custom mix of soap creates a bubble-like film between expanding and contracting interwoven steel cables. And in the exhibition’s most tucked-away corner, 26 original type specimen posters from Auerbach’s imprint, \u003ca href=\"https://diagonalpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diagonal Press\u003c/a>, hang like heraldic flags on one wall.\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>What is an artwork but an invention called by another name? In that mindset, \u003ci>Altar/Engine\u003c/i>, a broad and low blue table covered in sculptural forms, begins to look like the exploded parts of a custom Auerbach machine. Evenly lit and made up of what the artist calls “profound shapes,” \u003ci>Altar/Engine\u003c/i> practically glows with otherworldliness. What could these 126 carefully placed parts cohere into? What future technology—or theoretical something—are we seeing made real?\u003c/p>\n\u003cp>\u003ci>S v Z\u003c/i> is an exhibition, but it is also a glimpse into a laboratory of ceaseless and prodigious making. Vertical display strategies and iterative series gesture at a barely contained practice. Every aspect of the presentation asks visitors to look around them as Auerbach does: more closely, noticing patterns and arrangements of objects in space. (Keep an eye out for the intermittent punctuation of Diagonal Press pins stuck directly into the exhibition’s black walls.)\u003c/p>\n\u003cfigure id=\"attachment_13907464\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200.jpg\" alt=\"View of exhibition space with black walls, paintings and sculptures.\" width=\"1200\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/SFMOMA-Auerbach_SvZ-0585_1200-768x484.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘S v Z‘ with ‘Altar/Engine’ in the foreground. \u003ccite>(Matthew Millman Photography, courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if one doesn’t immediately grok the 30-degree axis along which the show’s pedestals sit, there’s a pleasing harmony in the gallery space, all of which can be taken in from the exhibition’s center. We feel Auerbach’s hand here too, a sense of being guided through a well-orchestrated arrangement.\u003c/p>\n\u003cp>Speaking of arrangements (and instruments), the most elaborate and complex of Auerbach’s sculptures is another invention of sorts, this one assembled and in working order. \u003ci>Auerglass Organ\u003c/i>, a massive, collaboratively played wood instrument, sits on a circle of red carpet like the VIP it is. Created in 2009 with the musician Glasser (Cameron Mesirow), the organ is another near-symmetrical thing. A full keyboard is split between its two sides, each player pumping the foot pedals that provide air for their partner’s notes.\u003c/p>\n\u003cp>Auerbach and Glasser have written three pieces for the instrument, and will perform on it at a Feb. 3 event. But SFMOMA has also invited students from the San Francisco Conservatory of Music, San Francisco State University, and alumni from Mills College to create new works for an April 28 performance, which means others will be manipulating this strange and elegant beast of an organ for the first time.\u003c/p>\n\u003cp>It’s fitting that \u003ci>S v Z\u003c/i>, a show based on the principle of “and/or” (not “versus”) is a survey that acknowledges the involvement of many hands beyond the artist’s own. This extends from the assistance of \u003ca href=\"https://www.newbohemiasigns.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New Bohemia Signs\u003c/a> in painting the \u003ci>Flow Separation\u003c/i> mural to the double-tiered vitrines displaying objects and ephemera from the artist’s studio—materials that excite Auerbach’s art. In \u003ci>S v Z\u003c/i>, surrounded by helixes and waves, I vaguely remembered a concept from high school physics that Auerbach seems to put into practice. When two waves superimpose to form a single wave of greater amplitude, that’s called constructive interference.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Tauba Auerbach — S v Z’ is on view at the San Francisco Museum of Modern Art through May 1, 2022. \u003ca href=\"https://www.sfmoma.org/exhibition/tauba-auerbach-s-v-z/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907457/tauba-auerbach-s-v-z-sfmoma-review","authors":["61"],"categories":["arts_1"],"tags":["arts_10278","arts_769","arts_1434","arts_1381"],"featImg":"arts_13907463","label":"arts"},"arts_13892466":{"type":"posts","id":"arts_13892466","meta":{"index":"posts_1591205157","site":"arts","id":"13892466","score":null,"sort":[1612905852000]},"guestAuthors":[],"slug":"sfmoma-director-neal-benezra-steps-down","title":"SFMOMA Director Neal Benezra Steps Down","publishDate":1612905852,"format":"standard","headTitle":"SFMOMA Director Neal Benezra Steps Down | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ci>This story has been updated.\u003c/i>\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art announced today that Director Neal Benezra will step down from his role after 19 years in the position.\u003c/p>\n\u003cp>The museum gave no definitive end-date for Benezra’s tenure at the museum, only describing the move as the beginning of a “transition.” Benezra will assist the museum with “its succession plan and international search for a new director,” the statement explains.\u003c/p>\n\u003cp>Since his hiring in 2002, Benezra has overseen enormous growth for SFMOMA. The museum physically expanded to accommodate the long-term loan of over 1,000 artworks from the Fisher Collection, tripling its gallery space when it reopened in 2016 after three years of construction.\u003c/p>\n\u003cp>“I’m really proud of what we’ve been able to do here, with the staff and board working with me very closely, but I’m really ready for a change,” Benezra said in a phone interview, citing his nearly 40 years of working in museum settings. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m not using the R-word,” he says of retirement. “You want to keep your options open and see. I don’t have any plans to do anything except slow down for a little while.” As such, he has no immediate plans to leave the Bay Area. (Hyperallergic \u003ca href=\"https://hyperallergic.com/586107/sfmoma-cuts-salaries-by-20-employees-call-out-home-loans/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a> Benezra received a $801,900 no-interest loan from SFMOMA in 2002 for his San Francisco home; he declined to comment on the terms of his contract with the museum and if the end of his employment would trigger repayment on that loan.)\u003c/p>\n\u003cp>While Benezra \u003ca href=\"https://www.nytimes.com/2021/02/09/arts/design/director-of-sfmoma-steps-down.html\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>New York Times\u003c/em>\u003c/a> his decision to step down has nothing to do with controversies over the past year, his leadership of the 86-year-old museum has come under fire—from both inside and outside the institution—for \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" rel=\"noopener noreferrer\" target=\"_blank\">large personnel cuts\u003c/a>, staff experiences of racial inequity and SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">handling of criticism\u003c/a> during last summer’s protests against police brutality.\u003c/p>\n\u003cp>Benezra’s successor will inherit these issues, along with the financial fallout of the coronavirus pandemic. Most recently, the museum enacted 20% furloughs for all staff on Jan. 1. SFMOMA’s staff union OPEIU Local 29 achieved a memorandum of understanding with the museum to exempt the two lowest-paid classifications of its members, and delayed the furlough start date for union members until Jan. 22.\u003c/p>\n\u003cp>Just days ago, current SFMOMA staff launched a \u003ca href=\"https://www.gofundme.com/f/sfmoma-staff-mutual-aid\" rel=\"noopener noreferrer\" target=\"_blank\">GoFundMe\u003c/a> to provide mutual aid to furloughed and laid-off colleagues, citing the hardship of “ongoing, significant loss in salary” and the Bay Area’s high cost of living. The fund hopes to raise $50,000.\u003c/p>\n\u003cp>Benezra himself took a 50% salary reduction at the start of the pandemic (2018 tax filings show his annual compensation was over $1 million). But before the end of 2020, the board approved to lessen Benezra’s salary reduction to just 25%, starting Jan. 1. Despite the optics of furloughs coinciding with an increase in its highest-paid staff member’s pay, SFMOMA spokesperson Jill Lynch says Benezra’s pay cut remains the largest salary reduction taken by an American museum leader.\u003c/p>\n\u003cp>SFMOMA has suffered nearly a year without ticket sales. The museum closed in March 2020 due to the pandemic and \u003ca href=\"https://www.kqed.org/arts/13886494/sfmoma-asian-art-museum-announce-reopenings-in-early-october\" rel=\"noopener noreferrer\" target=\"_blank\">reopened for only two months\u003c/a> at the beginning of October. The museum hopes to reopen this spring, or as soon as the city of San Francisco lifts restrictions. \u003c/p>\n\u003cp>When that day arrives, SFMOMA is looking forward to hosting the retrospective \u003ci>Nam June Paik\u003c/i> (the museum is the only U.S. venue for the exhibition) and the physical feat of moving Diego Rivera’s mural \u003ci>The Marriage of the Artistic Expression of the North and of the South on this Continent\u003c/i> (aka \u003ci>Pan American Unity\u003c/i>), from City College of San Francisco to the museum’s free, Howard Street-facing gallery.\u003c/p>\n\u003cp>In the meantime, the museum’s board of trustees will establish a formal search committee to identify a new director for SFMOMA. Today’s statement says the committee will accept “input from staff and the museum’s community” to evaluate “a diverse pool of candidates who share the goal of becoming a human-centered, community-driven museum.”\u003c/p>\n\u003cp>Benezra said it would not surprise him if the search takes as long as a year. The next director of SFMOMA will need a variety of skills that extend well beyond the curation and care of the museum’s collection. “Museums have become larger, more complex institutions,” he said. “The challenges are more difficult, and less related—in some ways—to the art that you came to work with.” \u003c/p>\n\u003cp>One of those challenges will be establishing the museum’s role in a post-pandemic world, now that audiences have grown more accustomed to viewing art and culture at a remove. Another will be enacting the museum’s \u003ca href=\"https://www.sfmoma.org/dei-actions/\" rel=\"noopener noreferrer\" target=\"_blank\">DEI initiatives\u003c/a>; a Diversity Action Plan is due to debut this spring. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All our institutions have had to face really challenging, difficult situations having to do with racial equality,” Benezra said. “That’s a very important part of what museums have to be moving forward in terms of who we staff, what we collect, what exhibitions we mount. It’s a different time and museums are going to have to meet the moment.”\u003c/p>\n\n","blocks":[],"excerpt":"The museum will launch an international search for his replacement amid budget shortfalls, staff furloughs and DEI concerns.","status":"publish","parent":0,"modified":1705019509,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":925},"headData":{"title":"SFMOMA Director Neal Benezra Steps Down | KQED","description":"The museum will launch an international search for his replacement amid budget shortfalls, staff furloughs and DEI concerns.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Director Neal Benezra Steps Down","datePublished":"2021-02-09T21:24:12.000Z","dateModified":"2024-01-12T00:31:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892466/sfmoma-director-neal-benezra-steps-down","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story has been updated.\u003c/i>\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art announced today that Director Neal Benezra will step down from his role after 19 years in the position.\u003c/p>\n\u003cp>The museum gave no definitive end-date for Benezra’s tenure at the museum, only describing the move as the beginning of a “transition.” Benezra will assist the museum with “its succession plan and international search for a new director,” the statement explains.\u003c/p>\n\u003cp>Since his hiring in 2002, Benezra has overseen enormous growth for SFMOMA. The museum physically expanded to accommodate the long-term loan of over 1,000 artworks from the Fisher Collection, tripling its gallery space when it reopened in 2016 after three years of construction.\u003c/p>\n\u003cp>“I’m really proud of what we’ve been able to do here, with the staff and board working with me very closely, but I’m really ready for a change,” Benezra said in a phone interview, citing his nearly 40 years of working in museum settings. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not using the R-word,” he says of retirement. “You want to keep your options open and see. I don’t have any plans to do anything except slow down for a little while.” As such, he has no immediate plans to leave the Bay Area. (Hyperallergic \u003ca href=\"https://hyperallergic.com/586107/sfmoma-cuts-salaries-by-20-employees-call-out-home-loans/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a> Benezra received a $801,900 no-interest loan from SFMOMA in 2002 for his San Francisco home; he declined to comment on the terms of his contract with the museum and if the end of his employment would trigger repayment on that loan.)\u003c/p>\n\u003cp>While Benezra \u003ca href=\"https://www.nytimes.com/2021/02/09/arts/design/director-of-sfmoma-steps-down.html\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>New York Times\u003c/em>\u003c/a> his decision to step down has nothing to do with controversies over the past year, his leadership of the 86-year-old museum has come under fire—from both inside and outside the institution—for \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" rel=\"noopener noreferrer\" target=\"_blank\">large personnel cuts\u003c/a>, staff experiences of racial inequity and SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">handling of criticism\u003c/a> during last summer’s protests against police brutality.\u003c/p>\n\u003cp>Benezra’s successor will inherit these issues, along with the financial fallout of the coronavirus pandemic. Most recently, the museum enacted 20% furloughs for all staff on Jan. 1. SFMOMA’s staff union OPEIU Local 29 achieved a memorandum of understanding with the museum to exempt the two lowest-paid classifications of its members, and delayed the furlough start date for union members until Jan. 22.\u003c/p>\n\u003cp>Just days ago, current SFMOMA staff launched a \u003ca href=\"https://www.gofundme.com/f/sfmoma-staff-mutual-aid\" rel=\"noopener noreferrer\" target=\"_blank\">GoFundMe\u003c/a> to provide mutual aid to furloughed and laid-off colleagues, citing the hardship of “ongoing, significant loss in salary” and the Bay Area’s high cost of living. The fund hopes to raise $50,000.\u003c/p>\n\u003cp>Benezra himself took a 50% salary reduction at the start of the pandemic (2018 tax filings show his annual compensation was over $1 million). But before the end of 2020, the board approved to lessen Benezra’s salary reduction to just 25%, starting Jan. 1. Despite the optics of furloughs coinciding with an increase in its highest-paid staff member’s pay, SFMOMA spokesperson Jill Lynch says Benezra’s pay cut remains the largest salary reduction taken by an American museum leader.\u003c/p>\n\u003cp>SFMOMA has suffered nearly a year without ticket sales. The museum closed in March 2020 due to the pandemic and \u003ca href=\"https://www.kqed.org/arts/13886494/sfmoma-asian-art-museum-announce-reopenings-in-early-october\" rel=\"noopener noreferrer\" target=\"_blank\">reopened for only two months\u003c/a> at the beginning of October. The museum hopes to reopen this spring, or as soon as the city of San Francisco lifts restrictions. \u003c/p>\n\u003cp>When that day arrives, SFMOMA is looking forward to hosting the retrospective \u003ci>Nam June Paik\u003c/i> (the museum is the only U.S. venue for the exhibition) and the physical feat of moving Diego Rivera’s mural \u003ci>The Marriage of the Artistic Expression of the North and of the South on this Continent\u003c/i> (aka \u003ci>Pan American Unity\u003c/i>), from City College of San Francisco to the museum’s free, Howard Street-facing gallery.\u003c/p>\n\u003cp>In the meantime, the museum’s board of trustees will establish a formal search committee to identify a new director for SFMOMA. Today’s statement says the committee will accept “input from staff and the museum’s community” to evaluate “a diverse pool of candidates who share the goal of becoming a human-centered, community-driven museum.”\u003c/p>\n\u003cp>Benezra said it would not surprise him if the search takes as long as a year. The next director of SFMOMA will need a variety of skills that extend well beyond the curation and care of the museum’s collection. “Museums have become larger, more complex institutions,” he said. “The challenges are more difficult, and less related—in some ways—to the art that you came to work with.” \u003c/p>\n\u003cp>One of those challenges will be establishing the museum’s role in a post-pandemic world, now that audiences have grown more accustomed to viewing art and culture at a remove. Another will be enacting the museum’s \u003ca href=\"https://www.sfmoma.org/dei-actions/\" rel=\"noopener noreferrer\" target=\"_blank\">DEI initiatives\u003c/a>; a Diversity Action Plan is due to debut this spring. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All our institutions have had to face really challenging, difficult situations having to do with racial equality,” Benezra said. “That’s a very important part of what museums have to be moving forward in terms of who we staff, what we collect, what exhibitions we mount. It’s a different time and museums are going to have to meet the moment.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892466/sfmoma-director-neal-benezra-steps-down","authors":["61"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_3156","arts_10342","arts_10278","arts_5441","arts_1434","arts_1381"],"featImg":"arts_13892465","label":"arts"},"arts_13881257":{"type":"posts","id":"arts_13881257","meta":{"index":"posts_1591205157","site":"arts","id":"13881257","score":null,"sort":[1591135585000]},"guestAuthors":[],"slug":"sfmoma-faces-censorship-racism-accusations-over-george-floyd-response","title":"SFMOMA Faces Censorship, Racism Accusations Over George Floyd Response","publishDate":1591135585,"format":"standard","headTitle":"SFMOMA Faces Censorship, Racism Accusations Over George Floyd Response | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"(max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"(max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A former employee and local artists argue the museum used a black artist's work instead of speaking out themselves.\r\n\r\n","status":"publish","parent":0,"modified":1705020649,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1087},"headData":{"title":"SFMOMA Faces Censorship, Racism Accusations Over George Floyd Response | KQED","description":"A former employee and local artists argue the museum used a black artist's work instead of speaking out themselves.\r\n\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Faces Censorship, Racism Accusations Over George Floyd Response","datePublished":"2020-06-02T22:06:25.000Z","dateModified":"2024-01-12T00:50:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\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>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"(max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"(max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response","authors":["11091"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_7573","arts_10278","arts_11163","arts_6746","arts_1434","arts_1381"],"featImg":"arts_13853236","label":"arts"},"arts_13877959":{"type":"posts","id":"arts_13877959","meta":{"index":"posts_1591205157","site":"arts","id":"13877959","score":null,"sort":[1585768853000]},"guestAuthors":[],"slug":"hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf","title":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF","publishDate":1585768853,"format":"standard","headTitle":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The latest local arts organization to announce workforce cutbacks during mandatory shutdown is the \u003ca href=\"https://www.exploratorium.edu/\">Exploratorium\u003c/a>, San Francisco’s waterfront museum of science, art and human perception.\u003c/p>\n\u003cp>On Tuesday, museum leadership announced layoffs and hours reductions affecting some 85 percent of employees, an Exploratorium staff member confirmed. The cuts include salary reductions for nearly 250 employees, with half of them reduced to minimum hours; hours suspensions for 150 on-call event staff; and layoffs of more than 100 part-time student workers.\u003c/p>\n\u003cp>Revenue is down 80 percent since the Exploratorium closed on March 12, and the museum faces an estimated $5 million in quarterly losses. Museums throughout the region are shuttered in accordance with local and statewide orders to stem the spread of the novel coronavirus.\u003c/p>\n\u003cp>“The COVID-19 pandemic is threatening the Exploratorium much more than anything we have faced in our first half-century,” Chris Flink, director and chief executive of the Exploratorium, said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>, which \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/at-exploratorium-layoffs-furloughs-to-affect-85-of-staff\">first reported\u003c/a> the cutbacks on Tuesday.\u003c/p>\n\u003cp>Laid off employees will be eligible for rehire when the Exploratorium reopens. Museum leadership expects to reopen July 1. In the interim, employees who previously had health benefits will retain them. Leadership figures including Flink are also taking pay reductions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Chronicle\u003c/em> also quoted Kate O’Donnell, SEIU 1021 chapter president for the Exploratorium, saying the union appreciates “management’s shared values of protecting our employees and their health benefits” and the “commitment to share job reduction burdens across the museum.”\u003c/p>\n\u003cp>The Exploratorium’s revenue for the fiscal year ending in 2018 was $51.5 million, according to its most recent available tax return. It has a $60 million endowment, according to its website.\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art last week announced \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">layoffs and furloughs\u003c/a> affecting more than 300 staff, and Museum of the African Diaspora has \u003ca href=\"https://www.kqed.org/arts/13877907/layoffs-hit-museum-of-the-african-diaspora-in-san-francisco\">laid off\u003c/a> seven of 18 employees.\u003c/p>\n\u003cp>A San Francisco Arts Alliance \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey found\u003c/a> 145 local arts organizations anticipate losing as much as $73 million if the coronavirus crisis proceeds through summer. 28 percent of them were contemplating layoffs as of March 20. Most have reduced or suspended contractor hours.\u003c/p>\n\u003cp>The City of San Francisco last month \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">pledged $2.5 million\u003c/a> to a relief fund providing grants and low-interest loans to artists and arts organizations economically impacted by coronavirus, joining a \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">growing number\u003c/a> of fundraising efforts similarly aimed at supporting the cultural sector.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The $2 trillion federal aid package signed into law last week includes $75 million each for the National Endowment for the Arts and National Endowment for the Humanities. 40 percent of the funds are for state partners including California Humanities and the California Arts Council.\u003c/p>\n\n","blocks":[],"excerpt":"Revenue is down 80 percent since the Exploratorium closed on March 12. ","status":"publish","parent":0,"modified":1705020970,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":459},"headData":{"title":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF | KQED","description":"Revenue is down 80 percent since the Exploratorium closed on March 12. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hundreds of Exploratorium Workers Face Layoffs, Salary Reductions in SF","datePublished":"2020-04-01T19:20:53.000Z","dateModified":"2024-01-12T00:56:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest local arts organization to announce workforce cutbacks during mandatory shutdown is the \u003ca href=\"https://www.exploratorium.edu/\">Exploratorium\u003c/a>, San Francisco’s waterfront museum of science, art and human perception.\u003c/p>\n\u003cp>On Tuesday, museum leadership announced layoffs and hours reductions affecting some 85 percent of employees, an Exploratorium staff member confirmed. The cuts include salary reductions for nearly 250 employees, with half of them reduced to minimum hours; hours suspensions for 150 on-call event staff; and layoffs of more than 100 part-time student workers.\u003c/p>\n\u003cp>Revenue is down 80 percent since the Exploratorium closed on March 12, and the museum faces an estimated $5 million in quarterly losses. Museums throughout the region are shuttered in accordance with local and statewide orders to stem the spread of the novel coronavirus.\u003c/p>\n\u003cp>“The COVID-19 pandemic is threatening the Exploratorium much more than anything we have faced in our first half-century,” Chris Flink, director and chief executive of the Exploratorium, said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>, which \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/at-exploratorium-layoffs-furloughs-to-affect-85-of-staff\">first reported\u003c/a> the cutbacks on Tuesday.\u003c/p>\n\u003cp>Laid off employees will be eligible for rehire when the Exploratorium reopens. Museum leadership expects to reopen July 1. In the interim, employees who previously had health benefits will retain them. Leadership figures including Flink are also taking pay reductions.\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 \u003cem>Chronicle\u003c/em> also quoted Kate O’Donnell, SEIU 1021 chapter president for the Exploratorium, saying the union appreciates “management’s shared values of protecting our employees and their health benefits” and the “commitment to share job reduction burdens across the museum.”\u003c/p>\n\u003cp>The Exploratorium’s revenue for the fiscal year ending in 2018 was $51.5 million, according to its most recent available tax return. It has a $60 million endowment, according to its website.\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art last week announced \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">layoffs and furloughs\u003c/a> affecting more than 300 staff, and Museum of the African Diaspora has \u003ca href=\"https://www.kqed.org/arts/13877907/layoffs-hit-museum-of-the-african-diaspora-in-san-francisco\">laid off\u003c/a> seven of 18 employees.\u003c/p>\n\u003cp>A San Francisco Arts Alliance \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey found\u003c/a> 145 local arts organizations anticipate losing as much as $73 million if the coronavirus crisis proceeds through summer. 28 percent of them were contemplating layoffs as of March 20. Most have reduced or suspended contractor hours.\u003c/p>\n\u003cp>The City of San Francisco last month \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">pledged $2.5 million\u003c/a> to a relief fund providing grants and low-interest loans to artists and arts organizations economically impacted by coronavirus, joining a \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">growing number\u003c/a> of fundraising efforts similarly aimed at supporting the cultural sector.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The $2 trillion federal aid package signed into law last week includes $75 million each for the National Endowment for the Arts and National Endowment for the Humanities. 40 percent of the funds are for state partners including California Humanities and the California Arts Council.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf","authors":["11091"],"categories":["arts_235","arts_70"],"tags":["arts_10126","arts_2483","arts_10278","arts_7736","arts_1987","arts_746","arts_596","arts_1434"],"featImg":"arts_13877962","label":"arts"},"arts_13869039":{"type":"posts","id":"arts_13869039","meta":{"index":"posts_1591205157","site":"arts","id":"13869039","score":null,"sort":[1572370873000]},"guestAuthors":[],"slug":"sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief","title":"SFMOMA, California Academy of Sciences Offer Free Admission for Fire Relief","publishDate":1572370873,"format":"standard","headTitle":"SFMOMA, California Academy of Sciences Offer Free Admission for Fire Relief | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>As a respite for Bay Area residents affected by mandatory evacuations, power outages and diminished air quality due to the Kincade Fire, select San Francisco cultural institutions are offering free admission. \u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> announced Monday that its permanent collection galleries on the second floor are open free to the public. The bottom floor galleries, currently exhibiting JR’s animated mural \u003cem>The Chronicles of San Francisco\u003c/em>, remain free as usual. \u003c/p>\n\u003cp>“We hope that these galleries can offer a place for reflection as we all find ways to cope with the impact of the fire and smoke,” reads SFMOMA’s statement. Adult tickets are normally $25. The free admission does not apply to the newly-opened contemporary group show \u003cem>Soft Power\u003c/em>. \u003c/p>\n\u003cp>The \u003ca href=\"https://www.calacademy.org/\">California Academy of Sciences\u003c/a> also announced Monday that the San Francisco natural history museum and research institution is offering free admission to current mandatory fire evacuees with proof of address Tuesday-Friday. Adult tickets normally cost $35.95. \u003c/p>\n\u003cp>In the East Bay, meanwhile, fire season has actually reduced access to some arts institutions. The \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a> reopened Tuesday after closing and cancelling all programming due to power outages this past weekend. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The de Young and Legion of Honor museums in San Francisco have not announced fire-related admission details, but they remain open to Bay Area residents \u003ca href=\"https://deyoung.famsf.org/press-room/de-young-legion-honor-museums-announce-free-saturday-admission-all-san-francisco\" rel=\"noopener\" target=\"_blank\">for free on Saturdays\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This post will be updated with more details of fire-related Bay Area museum access. \u003c/p>\n\n","blocks":[],"excerpt":"Museums open their doors to those affected by the Kincade Fire.","status":"publish","parent":0,"modified":1705021896,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":252},"headData":{"title":"SFMOMA, California Academy of Sciences Offer Free Admission for Fire Relief | KQED","description":"Museums open their doors to those affected by the Kincade Fire.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA, California Academy of Sciences Offer Free Admission for Fire Relief","datePublished":"2019-10-29T17:41:13.000Z","dateModified":"2024-01-12T01:11:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a respite for Bay Area residents affected by mandatory evacuations, power outages and diminished air quality due to the Kincade Fire, select San Francisco cultural institutions are offering free admission. \u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> announced Monday that its permanent collection galleries on the second floor are open free to the public. The bottom floor galleries, currently exhibiting JR’s animated mural \u003cem>The Chronicles of San Francisco\u003c/em>, remain free as usual. \u003c/p>\n\u003cp>“We hope that these galleries can offer a place for reflection as we all find ways to cope with the impact of the fire and smoke,” reads SFMOMA’s statement. Adult tickets are normally $25. The free admission does not apply to the newly-opened contemporary group show \u003cem>Soft Power\u003c/em>. \u003c/p>\n\u003cp>The \u003ca href=\"https://www.calacademy.org/\">California Academy of Sciences\u003c/a> also announced Monday that the San Francisco natural history museum and research institution is offering free admission to current mandatory fire evacuees with proof of address Tuesday-Friday. Adult tickets normally cost $35.95. \u003c/p>\n\u003cp>In the East Bay, meanwhile, fire season has actually reduced access to some arts institutions. The \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a> reopened Tuesday after closing and cancelling all programming due to power outages this past weekend. \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 de Young and Legion of Honor museums in San Francisco have not announced fire-related admission details, but they remain open to Bay Area residents \u003ca href=\"https://deyoung.famsf.org/press-room/de-young-legion-honor-museums-announce-free-saturday-admission-all-san-francisco\" rel=\"noopener\" target=\"_blank\">for free on Saturdays\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This post will be updated with more details of fire-related Bay Area museum access. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869039/sfmoma-california-academy-of-sciences-offer-free-admission-for-fire-relief","authors":["11091"],"programs":["arts_1272"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_1118","arts_3648","arts_746","arts_596","arts_1434"],"featImg":"arts_13869047","label":"arts_1272"},"arts_13855321":{"type":"posts","id":"arts_13855321","meta":{"index":"posts_1591205157","site":"arts","id":"13855321","score":null,"sort":[1555611852000]},"guestAuthors":[],"slug":"california-college-of-the-arts-campus-consolidation-spurs-union-effort","title":"California College of the Arts Campus Consolidation Spurs Union Effort","publishDate":1555611852,"format":"standard","headTitle":"California College of the Arts Campus Consolidation Spurs Union Effort | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>California College of the Arts staff will vote Monday in a union election, continuing a labor organizing trend in the arts and higher education sectors as the cost of living outpaces wage growth in the Bay Area. \u003c/p>\n\u003cp>At \u003ca href=\"https://www.cca.edu/\">CCA\u003c/a>, where faculty ratified their first union contract in 2017, staff including workers in the libraries and facilities divisions have been openly organizing with Service Employees International Union (SEIU) Local 1021 since November. A total of 164 staffers are eligible for representation, according to the union organizers. \u003c/p>\n\u003cp>The storied private college, founded in the East Bay in 1907 and boasting alumni such as Robert Arneson and Susan O’Malley, enrolls some 2,000 students of art, architecture and design. It also operates the Wattis Institute for Contemporary Arts. Currently, it spans two campuses in Oakland and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13855305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg\" alt=\"Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the entire school will eventually be consolidated in San Francisco, where its campus at the foot of Potrero Hill is being rebuilt. Organizing committee members told KQED that anxieties about the consolidation, now far behind the initially projected 2021 completion date, are a driving force behind staff’s unionizing effort. \u003c/p>\n\u003cp>With one campus, staff members wonder, will the school need half the janitors? Half the library staff? With staff feeling CCA administration hasn’t satisfactorily answered such questions, organizers believe unionizing will provide job security, higher wages and leverage with school leadership as the workplace dramatically transforms. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the campus is being “unified,” to use the administration’s term for consolidating in San Francisco, organizers believe they’re doing the same for the staff. They’re also stressing how, at a time of focus on recruiting and retaining students, unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>Paul Navarette, who’s worked in the library for five years, added that they’re concerned about the effect of consolidation on student services. “If half the library is in storage, that’s a decrease in services,” he said. \u003c/p>\n\u003cp>In a region that consistently ranks among the country’s most expensive, wages are a key issue. Since CCA workers mostly live in the East Bay, campus consolidation will increase commuting time and cost. “I’ve lived in [the East Bay] for 13 years and my rent has tripled, but my salary hasn’t,” said Amber Bales, a CCA library technician for seven years. Bales noted CCA is her first non-union job in higher education. \u003c/p>\n\u003cfigure id=\"attachment_13855307\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg\" alt=\"California College of the Arts is overhauling its San Francisco campus.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13855307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts is overhauling its San Francisco campus. Above is a rendering of the proposed campus. \u003ccite>(Courtesy Studio Gang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The administration claims neutrality towards union representation, but organizers said school leadership has sown confusion about eligibility to undermine the effort. They also said the administration has attempted to exclude SEIU representatives, but include school attorneys, from meetings with organizers. \u003c/p>\n\u003cp>Earlier this month, organizers sent a \u003ca href=\"https://www.instagram.com/p/BwBStFshtAj/\">letter\u003c/a> to college president Stephen Beal asking the administration to “respect every employee’s right to make the decision to form a union, free from coercion or threats.” \u003c/p>\n\u003cp>Asked for comment, CCA spokespeople pointed to a document distributed by the administration Friday. \u003c/p>\n\u003cp>“The CCA administration is not advocating for or against union representation for staff,” it reads. “The administration encourages all staff members to educate themselves on this important issue, as well as to understand what benefits the College currently provides, and to vote their conscience on April 22.” \u003c/p>\n\u003cp>Other parts of the document, however, cast unionizing as a loss: Managers would no longer advocate for raises without union consent, and staff would “most likely not be permitted” to join an advisory committee to human resources. Collective bargaining, it claims, would “generally operate” as CCA does presently. \u003c/p>\n\u003cfigure id=\"attachment_13855301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg\" alt=\"Amber Bales noted California College of the Arts is her first non-union job in higher education.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Bales noted California College of the Arts is her first non-union job in higher education. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers called these assertions disingenuous, adding they’re confident in the election’s positive outcome. \u003c/p>\n\u003cp>Staff were inspired to unionize in part by the contract SEIU Local 1021 helped adjuncts secure in 2017, after nearly three years of organizing. The “Job Security for the 78 Percent” campaign called attention to the untenured proportion of CCA teachers. Now some 500 adjuncts are eligible for union membership. \u003c/p>\n\u003cp>The contract provides adjuncts with a 17 percent raise over three years, one- and two-year teaching appointments and eligibility for health benefits after three years of teaching three or more courses. \u003c/p>\n\u003cp>Local 1021 has 54,000 members, including faculty at San Francisco Art Institute, Dominican University of California, Holy Names University, St. Mary’s College and Mills College. Staff at SFAI and San Francisco Museum of Modern Art, which \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">fought\u003c/a> for cost-of-living raises during contract negotiations last year, are represented by the Office and Professional Employees International Union (OPEIU).\u003c/p>\n\u003cfigure id=\"attachment_13855306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg\" alt=\"Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation's effect on student services.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation’s effect on student services. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SEIU, known for representing government employees, has been organizing higher-education workers nationally as part of its “Faculty Forward” campaign. The union argues government disinvestment in higher education has “turned college into big business,” resulting in insecurity and wage stagnation. \u003c/p>\n\u003cp>Matt Kennedy, a print services manager and seven-year CCA employee, said cultural institutions’ messaging around equity and inclusion is also stoking workers’ labor consciousness. “Especially in higher education, where there’s so much values rhetoric, people are motivated by seeing hypocrisy,” he said.\u003c/p>\n\u003cp>The organizing committee’s \u003ca href=\"https://www.instagram.com/sfoakunite/\">Instagram account\u003c/a> has posted messages supporting recent labor struggles at Santa Clara University and the New Museum. The committee has also held informational events in partnership with CCA groups such as the Students of Color Coalition, while SEIU representatives this week distributed literature on the Oakland and San Francisco campuses. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the center of CCA’s plan to overhaul its San Francisco campus is more housing for students, plus new and renovated academic buildings designed by architecture firm Studio Gang. CCA has partnered with Emerald Fund and Equity Community Builders to redevelop its 4-acre Oakland property as a mix of mostly market-rate housing plus office and workspace aimed at artists and arts-related nonprofits. \u003c/p>\n\n","blocks":[],"excerpt":"The labor organizing trend in the arts and higher-education sectors continues.","status":"publish","parent":0,"modified":1705026313,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1076},"headData":{"title":"California College of the Arts Campus Consolidation Spurs Union Effort | KQED","description":"The labor organizing trend in the arts and higher-education sectors continues.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"California College of the Arts Campus Consolidation Spurs Union Effort","datePublished":"2019-04-18T18:24:12.000Z","dateModified":"2024-01-12T02:25:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>California College of the Arts staff will vote Monday in a union election, continuing a labor organizing trend in the arts and higher education sectors as the cost of living outpaces wage growth in the Bay Area. \u003c/p>\n\u003cp>At \u003ca href=\"https://www.cca.edu/\">CCA\u003c/a>, where faculty ratified their first union contract in 2017, staff including workers in the libraries and facilities divisions have been openly organizing with Service Employees International Union (SEIU) Local 1021 since November. A total of 164 staffers are eligible for representation, according to the union organizers. \u003c/p>\n\u003cp>The storied private college, founded in the East Bay in 1907 and boasting alumni such as Robert Arneson and Susan O’Malley, enrolls some 2,000 students of art, architecture and design. It also operates the Wattis Institute for Contemporary Arts. Currently, it spans two campuses in Oakland and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13855305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg\" alt=\"Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the entire school will eventually be consolidated in San Francisco, where its campus at the foot of Potrero Hill is being rebuilt. Organizing committee members told KQED that anxieties about the consolidation, now far behind the initially projected 2021 completion date, are a driving force behind staff’s unionizing effort. \u003c/p>\n\u003cp>With one campus, staff members wonder, will the school need half the janitors? Half the library staff? With staff feeling CCA administration hasn’t satisfactorily answered such questions, organizers believe unionizing will provide job security, higher wages and leverage with school leadership as the workplace dramatically transforms. \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>As the campus is being “unified,” to use the administration’s term for consolidating in San Francisco, organizers believe they’re doing the same for the staff. They’re also stressing how, at a time of focus on recruiting and retaining students, unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>Paul Navarette, who’s worked in the library for five years, added that they’re concerned about the effect of consolidation on student services. “If half the library is in storage, that’s a decrease in services,” he said. \u003c/p>\n\u003cp>In a region that consistently ranks among the country’s most expensive, wages are a key issue. Since CCA workers mostly live in the East Bay, campus consolidation will increase commuting time and cost. “I’ve lived in [the East Bay] for 13 years and my rent has tripled, but my salary hasn’t,” said Amber Bales, a CCA library technician for seven years. Bales noted CCA is her first non-union job in higher education. \u003c/p>\n\u003cfigure id=\"attachment_13855307\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg\" alt=\"California College of the Arts is overhauling its San Francisco campus.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13855307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts is overhauling its San Francisco campus. Above is a rendering of the proposed campus. \u003ccite>(Courtesy Studio Gang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The administration claims neutrality towards union representation, but organizers said school leadership has sown confusion about eligibility to undermine the effort. They also said the administration has attempted to exclude SEIU representatives, but include school attorneys, from meetings with organizers. \u003c/p>\n\u003cp>Earlier this month, organizers sent a \u003ca href=\"https://www.instagram.com/p/BwBStFshtAj/\">letter\u003c/a> to college president Stephen Beal asking the administration to “respect every employee’s right to make the decision to form a union, free from coercion or threats.” \u003c/p>\n\u003cp>Asked for comment, CCA spokespeople pointed to a document distributed by the administration Friday. \u003c/p>\n\u003cp>“The CCA administration is not advocating for or against union representation for staff,” it reads. “The administration encourages all staff members to educate themselves on this important issue, as well as to understand what benefits the College currently provides, and to vote their conscience on April 22.” \u003c/p>\n\u003cp>Other parts of the document, however, cast unionizing as a loss: Managers would no longer advocate for raises without union consent, and staff would “most likely not be permitted” to join an advisory committee to human resources. Collective bargaining, it claims, would “generally operate” as CCA does presently. \u003c/p>\n\u003cfigure id=\"attachment_13855301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg\" alt=\"Amber Bales noted California College of the Arts is her first non-union job in higher education.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Bales noted California College of the Arts is her first non-union job in higher education. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers called these assertions disingenuous, adding they’re confident in the election’s positive outcome. \u003c/p>\n\u003cp>Staff were inspired to unionize in part by the contract SEIU Local 1021 helped adjuncts secure in 2017, after nearly three years of organizing. The “Job Security for the 78 Percent” campaign called attention to the untenured proportion of CCA teachers. Now some 500 adjuncts are eligible for union membership. \u003c/p>\n\u003cp>The contract provides adjuncts with a 17 percent raise over three years, one- and two-year teaching appointments and eligibility for health benefits after three years of teaching three or more courses. \u003c/p>\n\u003cp>Local 1021 has 54,000 members, including faculty at San Francisco Art Institute, Dominican University of California, Holy Names University, St. Mary’s College and Mills College. Staff at SFAI and San Francisco Museum of Modern Art, which \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">fought\u003c/a> for cost-of-living raises during contract negotiations last year, are represented by the Office and Professional Employees International Union (OPEIU).\u003c/p>\n\u003cfigure id=\"attachment_13855306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg\" alt=\"Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation's effect on student services.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation’s effect on student services. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SEIU, known for representing government employees, has been organizing higher-education workers nationally as part of its “Faculty Forward” campaign. The union argues government disinvestment in higher education has “turned college into big business,” resulting in insecurity and wage stagnation. \u003c/p>\n\u003cp>Matt Kennedy, a print services manager and seven-year CCA employee, said cultural institutions’ messaging around equity and inclusion is also stoking workers’ labor consciousness. “Especially in higher education, where there’s so much values rhetoric, people are motivated by seeing hypocrisy,” he said.\u003c/p>\n\u003cp>The organizing committee’s \u003ca href=\"https://www.instagram.com/sfoakunite/\">Instagram account\u003c/a> has posted messages supporting recent labor struggles at Santa Clara University and the New Museum. The committee has also held informational events in partnership with CCA groups such as the Students of Color Coalition, while SEIU representatives this week distributed literature on the Oakland and San Francisco campuses. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the center of CCA’s plan to overhaul its San Francisco campus is more housing for students, plus new and renovated academic buildings designed by architecture firm Studio Gang. CCA has partnered with Emerald Fund and Equity Community Builders to redevelop its 4-acre Oakland property as a mix of mostly market-rate housing plus office and workspace aimed at artists and arts-related nonprofits. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort","authors":["11091"],"programs":["arts_1272"],"categories":["arts_235","arts_70"],"tags":["arts_5936","arts_1118","arts_2639","arts_746","arts_596","arts_1434","arts_21264"],"featImg":"arts_13855302","label":"arts_1272"},"arts_13844612":{"type":"posts","id":"arts_13844612","meta":{"index":"posts_1591205157","site":"arts","id":"13844612","score":null,"sort":[1541805959000]},"guestAuthors":[],"slug":"sfmomas-permanent-collection-is-free-this-weekend","title":"SFMOMA, de Young Offering Free Admission This Weekend","publishDate":1541805959,"format":"image","headTitle":"SFMOMA, de Young Offering Free Admission This Weekend | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" target=\"_blank\" rel=\"noopener\">Butte County fire\u003c/a> continues to burn, the air quality in San Francisco is on red, or unhealthy, according to the city’s Department of Emergency Management. Residents are expected to feel the effects of the smoke throughout the holiday weekend. With thousands of people fleeing their homes and multiple fatalities as of publication, the mood is heavy across Northern California.\u003c/p>\n\u003cp>To give local art lovers some relief, two museums are free this weekend. The San Francisco Museum of Modern Art announced Friday that its \u003ca href=\"https://www.sfmoma.org/artists-artworks/public-dialogue/public-knowledge/?gclid=EAIaIQobChMI84jizLrI3gIVicpkCh1PBwR0EAAYASAAEgKrUvD_BwE\" target=\"_blank\" rel=\"noopener\">Public Knowledge Library\u003c/a> and second floor gallery, which houses its permanent collection, will be free and open to the public this weekend, Nov. 10 and 11, “to offer a place of reflection as we all continue to find ways to cope with the ongoing impact of the fire and smoke.”\u003c/p>\n\u003cp>Likewise, the de Young is offering free general admission this weekend. “For those directly affected by the fires, or for those seeking to escape the poor air conditions, the de Young wants to offer a free and safe space,” the museum said \u003ca href=\"https://www.instagram.com/p/BqAi7umFfFA/\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>.\u003c/p>\n\u003cp>The second floor of the SFMOMA is home to its\u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">\u003cem> Open Ended\u003c/em>\u003c/a> exhibit, which features painting and sculpture from 1900 to today and includes world-class artists such as Jackson Pollock, Marcel Duchamp, Georgia O’Keeffe, Frida Kahlo and Mark Rothko. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows, also on the second floor, will be free as well.\u003c/p>\n\u003cp>In addition to its massive permanent collection, free this weekend, the de Young is currently showing \u003cem>\u003ca href=\"https://www.kqed.org/arts/13844505/beyond-the-burka-contemporary-muslim-fashion-at-the-de-young\" rel=\"noopener\" target=\"_blank\">Contemporary Muslim Fashions\u003c/a>\u003c/em> for an additional entry fee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BqAi7umFfFA/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>https://www.instagram.com/p/Bp-TzahALtl/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"The museums are giving local art lovers a space to cope and reflect as the Camp Fire continues to burn in Butte County. ","status":"publish","parent":0,"modified":1705027032,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":294},"headData":{"title":"SFMOMA, de Young Offering Free Admission This Weekend | KQED","description":"The museums are giving local art lovers a space to cope and reflect as the Camp Fire continues to burn in Butte County. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA, de Young Offering Free Admission This Weekend","datePublished":"2018-11-09T23:25:59.000Z","dateModified":"2024-01-12T02:37:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13844612/sfmomas-permanent-collection-is-free-this-weekend","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11705243/california-wildfires-what-you-need-to-know\" target=\"_blank\" rel=\"noopener\">Butte County fire\u003c/a> continues to burn, the air quality in San Francisco is on red, or unhealthy, according to the city’s Department of Emergency Management. Residents are expected to feel the effects of the smoke throughout the holiday weekend. With thousands of people fleeing their homes and multiple fatalities as of publication, the mood is heavy across Northern California.\u003c/p>\n\u003cp>To give local art lovers some relief, two museums are free this weekend. The San Francisco Museum of Modern Art announced Friday that its \u003ca href=\"https://www.sfmoma.org/artists-artworks/public-dialogue/public-knowledge/?gclid=EAIaIQobChMI84jizLrI3gIVicpkCh1PBwR0EAAYASAAEgKrUvD_BwE\" target=\"_blank\" rel=\"noopener\">Public Knowledge Library\u003c/a> and second floor gallery, which houses its permanent collection, will be free and open to the public this weekend, Nov. 10 and 11, “to offer a place of reflection as we all continue to find ways to cope with the ongoing impact of the fire and smoke.”\u003c/p>\n\u003cp>Likewise, the de Young is offering free general admission this weekend. “For those directly affected by the fires, or for those seeking to escape the poor air conditions, the de Young wants to offer a free and safe space,” the museum said \u003ca href=\"https://www.instagram.com/p/BqAi7umFfFA/\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>.\u003c/p>\n\u003cp>The second floor of the SFMOMA is home to its\u003ca href=\"https://www.sfmoma.org/exhibition/open-ended/\" target=\"_blank\" rel=\"noopener\">\u003cem> Open Ended\u003c/em>\u003c/a> exhibit, which features painting and sculpture from 1900 to today and includes world-class artists such as Jackson Pollock, Marcel Duchamp, Georgia O’Keeffe, Frida Kahlo and Mark Rothko. Bay Area artist \u003ca href=\"https://www.sfmoma.org/exhibition/wayne-thiebaud-artists-choice/\" target=\"_blank\" rel=\"noopener\">Wayne Thiebaud\u003c/a>‘s two concurrent solo shows, also on the second floor, will be free as well.\u003c/p>\n\u003cp>In addition to its massive permanent collection, free this weekend, the de Young is currently showing \u003cem>\u003ca href=\"https://www.kqed.org/arts/13844505/beyond-the-burka-contemporary-muslim-fashion-at-the-de-young\" rel=\"noopener\" target=\"_blank\">Contemporary Muslim Fashions\u003c/a>\u003c/em> for an additional entry fee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BqAi7umFfFA"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>–\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Bp-TzahALtl"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13844612/sfmomas-permanent-collection-is-free-this-weekend","authors":["11387"],"categories":["arts_235","arts_70"],"tags":["arts_5983","arts_1434","arts_1381"],"featImg":"arts_13844617","label":"arts"},"arts_13825942":{"type":"posts","id":"arts_13825942","meta":{"index":"posts_1591205157","site":"arts","id":"13825942","score":null,"sort":[1519867231000]},"guestAuthors":[],"slug":"on-the-air-cy-musiker-and-john-vanderlices-do-list-picks-for-march-2-2018","title":"On The Air: Cy Musiker and John Vanderlice's Do LIst Picks for March 2, 2018","publishDate":1519867231,"format":"audio","headTitle":"On The Air: Cy Musiker and John Vanderlice’s Do LIst Picks for March 2, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s always fun when Tiny Telephone owner and founder John Vanderslice joins me as co-host. For one thing, he’s worked with just about everybody in the Bay Area music scene. He likes all kinds of genres and performance art, and he’s just the nicest guy. On the show, we covered performances ranging from Afro-Cuban pianist Omar Sosa at Yoshi’s to the anarchic hip hop of BROCKHAMPTON. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 9, 10, and 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/jazz-pianist-omar-sosa-returns-home-to-oakland-for-shows/\" target=\"_blank\" rel=\"noopener\">Omar Sosa’s Afro-Cuban trio make jazz for chilling\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 14-18\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/mind-blowing-art-and-performance-at-counterpulses-first-festival/\" target=\"_blank\" rel=\"noopener\">Avant-garde dance presenter CounterPulse stages its first annual festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 2, 9, and 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/the-crushing-insecurity-of-youth-on-mortified-live/\" target=\"_blank\" rel=\"noopener\">Mortified Live returns to the Bay Area, offering participants a chance to exorcise their inner dweeb\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/globalfest-celebrates-a-new-golden-age-of-latin-music/\" target=\"_blank\" rel=\"noopener\">Las Cafeteras and Flor de Toloache bring their revolutionary Mexican folk music to the Fox in Oakland \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 9 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/close-harmony-comes-naturally-to-the-t-sisters/\" target=\"_blank\" rel=\"noopener\">Close harmonies come naturally to the T Sisters\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 3-4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/the-anarchic-and-incredibly-prolific-hip-hop-of-brockhampton/\" target=\"_blank\" rel=\"noopener\">BROCKHAMPTON is the internet’s first boy band\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUT March 6: \u003c/strong>\u003ca href=\"https://www.rickshawstop.com/event/1601694-palm-san-francisco/\" target=\"_blank\" rel=\"noopener\">John Vanderslice loves the mathematically precise rock of Palm at the Rickshaw Stop\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUT March 6: \u003c/strong>\u003ca href=\"http://www.oaklandmagiccircle.com/wordpress/2018/02/12/tuesday-march-6-2018-women-in-magic/\" target=\"_blank\" rel=\"noopener\">Oakland’s Magic Circle celebrates women magicians at Bjornson Hall in Oakland \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"On the Do List this week, KQED's Cy Musiker and John Vanderslice cover the best in Bay Area Arts","status":"publish","parent":0,"modified":1705028377,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":230},"headData":{"title":"On The Air: Cy Musiker and John Vanderlice's Do LIst Picks for March 2, 2018 | KQED","description":"On the Do List this week, KQED's Cy Musiker and John Vanderslice cover the best in Bay Area Arts","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On The Air: Cy Musiker and John Vanderlice's Do LIst Picks for March 2, 2018","datePublished":"2018-03-01T01:20:31.000Z","dateModified":"2024-01-12T02:59:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/02/TDL20180302.mp3","guestFields":"1","sticky":false,"path":"/arts/13825942/on-the-air-cy-musiker-and-john-vanderlices-do-list-picks-for-march-2-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always fun when Tiny Telephone owner and founder John Vanderslice joins me as co-host. For one thing, he’s worked with just about everybody in the Bay Area music scene. He likes all kinds of genres and performance art, and he’s just the nicest guy. On the show, we covered performances ranging from Afro-Cuban pianist Omar Sosa at Yoshi’s to the anarchic hip hop of BROCKHAMPTON. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 9, 10, and 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/jazz-pianist-omar-sosa-returns-home-to-oakland-for-shows/\" target=\"_blank\" rel=\"noopener\">Omar Sosa’s Afro-Cuban trio make jazz for chilling\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 14-18\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/mind-blowing-art-and-performance-at-counterpulses-first-festival/\" target=\"_blank\" rel=\"noopener\">Avant-garde dance presenter CounterPulse stages its first annual festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 2, 9, and 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/the-crushing-insecurity-of-youth-on-mortified-live/\" target=\"_blank\" rel=\"noopener\">Mortified Live returns to the Bay Area, offering participants a chance to exorcise their inner dweeb\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/globalfest-celebrates-a-new-golden-age-of-latin-music/\" target=\"_blank\" rel=\"noopener\">Las Cafeteras and Flor de Toloache bring their revolutionary Mexican folk music to the Fox in Oakland \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 9 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/close-harmony-comes-naturally-to-the-t-sisters/\" target=\"_blank\" rel=\"noopener\">Close harmonies come naturally to the T Sisters\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 3-4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/28/the-anarchic-and-incredibly-prolific-hip-hop-of-brockhampton/\" target=\"_blank\" rel=\"noopener\">BROCKHAMPTON is the internet’s first boy band\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUT March 6: \u003c/strong>\u003ca href=\"https://www.rickshawstop.com/event/1601694-palm-san-francisco/\" target=\"_blank\" rel=\"noopener\">John Vanderslice loves the mathematically precise rock of Palm at the Rickshaw Stop\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUT March 6: \u003c/strong>\u003ca href=\"http://www.oaklandmagiccircle.com/wordpress/2018/02/12/tuesday-march-6-2018-women-in-magic/\" target=\"_blank\" rel=\"noopener\">Oakland’s Magic Circle celebrates women magicians at Bjornson Hall in Oakland \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825942/on-the-air-cy-musiker-and-john-vanderlices-do-list-picks-for-march-2-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_69"],"tags":["arts_1018","arts_1118","arts_2187","arts_1006","arts_4104","arts_831","arts_4117","arts_596","arts_1434","arts_626"],"featImg":"arts_13825745","label":"arts_140"},"arts_13809355":{"type":"posts","id":"arts_13809355","meta":{"index":"posts_1591205157","site":"arts","id":"13809355","score":null,"sort":[1506438001000]},"guestAuthors":[],"slug":"asian-art-museum-moves-toward-90-million-transformation","title":"Asian Art Museum Moves Toward $90 Million Transformation","publishDate":1506438001,"format":"standard","headTitle":"Asian Art Museum Moves Toward $90 Million Transformation | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art museum\u003c/a> is moving forward with a $90 million transformation project. The plans announced Tuesday feature a big, new exhibition pavilion with a rooftop terrace.\u003c/span>\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/09/VeltmanAsianArtMus.mp3\" /]\u003c/p>\n\u003cp>Many people love the Beaux Arts-style building in Civic Center that houses the Asian Art Museum, with its ornate brick and terra cotta facade.\u003c/p>\n\u003cp>But museum CEO and director, Jay Xu, acknowledges the shortcomings of the 1917 building — the former site of the San Francisco Public Library — when it comes to presenting art.\u003c/p>\n\u003cp>“Our existing special exhibition spaces are disconnected,” Xu says. “You have to go through several, separate disconnected rooms in order to finish your exhibition.”\u003c/p>\n\u003cfigure id=\"attachment_13809364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809364\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-800x453.jpg\" alt=\"Asian Art Museum Art Terrace, concept design by wHY, 2017. Rendering © wHY and Asian Art Museum. (Pictured artworks for illustration only.)\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asian Art Museum Art Terrace, concept design by wHY, 2017. \u003ccite>(Photo: Courtesy of wHY and Asian Art Museum.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the museum hired architect Kulapat Yantrasast of the Los Angeles firm \u003ca href=\"http://why-site.com/\" target=\"_blank\" rel=\"noopener noreferrer\">wHY\u003c/a> to improve the sense of transparency and flow. “The museum must have good circulation, and be easy to navigate,” Yantrasast says. “We also make sure the masterpieces stand out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A native of Thailand, Yantrasast is making a name for himself in museum and gallery design. His past credits include the Speed Art Museum in Kentucky, and galleries at the Art Institute of Chicago and the Harvard Art Museum. Locally, he designed San Francisco’s Gagosian Gallery.\u003c/p>\n\u003cp>The Asian Art Museum’s new $38 million, 13,000-square-foot pavilion is just one piece of the museum’s vision for the future. Xu says the privately-funded expansion plan also includes enhanced programming and education offerings, upgrades to the digital experience, and a $25 million endowment.\u003c/p>\n\u003cfigure id=\"attachment_13809365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-800x452.jpg\" alt=\"Asian Art Museum executive director Jay Xu and architect Kulapat Yantrasast pose in front of the plans for the museums expansion.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asian Art Museum executive director Jay Xu and architect Kulapat Yantrasast pose in front of the plans for the museums expansion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Xu says the institution has so far raised around two-thirds of the total $90 million capital campaign through donations, including the largest financial gift in the museum’s history from Silicon Valley entrepreneur Jerry Yang and his wife Akiko Yamazaki. Yamazaki chairs the museum’s boards.\u003c/p>\n\u003cp>“We came up with this vision to explore Asian art’s relevance in American life and make Asian art and culture an essential part of our life today,” Xu says of the overall development strategy. Xu says he and his team started working on the plan eight years ago, not long after he came on board as executive director.\u003c/p>\n\u003cp>Bay Area artist Ranu Mukhergee has exhibited work at the museum several times before. She hopes the new pavilion will enhance the institution’s reputation for new work.\u003c/p>\n\u003cp>“They’ve been making contemporary art shows for a while, but they’re less known for that,” Mukhergee says. “I think it’s an opportunity for them to show their commitment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Asian Art Museum is the latest in the line of large Bay Area arts organizations to undergo major redevelopments. The \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a> re-opened last year after raising $610 million on an expansion plan which included tripling its gallery space from 70,000 square feet to 170,000 square feet. $305 million went towards construction costs. \u003c/span>\u003c/p>\n\u003cp>The Asian Art museum is expecting to break ground on its new pavilion early next year. The expanded facility is scheduled to open to the public in 2019.\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> \u003c/p>\n\n","blocks":[],"excerpt":"The centerpiece of the plan is a big, new exhibition pavilion with a rooftop terrace designed by Los Angeles architect Kulapat Yantrasast. ","status":"publish","parent":0,"modified":1705029470,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":599},"headData":{"title":"Asian Art Museum Moves Toward $90 Million Transformation | KQED","description":"The centerpiece of the plan is a big, new exhibition pavilion with a rooftop terrace designed by Los Angeles architect Kulapat Yantrasast. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Asian Art Museum Moves Toward $90 Million Transformation","datePublished":"2017-09-26T15:00:01.000Z","dateModified":"2024-01-12T03:17:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13809355/asian-art-museum-moves-toward-90-million-transformation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s \u003ca href=\"http://www.asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art museum\u003c/a> is moving forward with a $90 million transformation project. The plans announced Tuesday feature a big, new exhibition pavilion with a rooftop terrace.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"https://www.kqed.org/.stream/anon/radio/RDnews/2017/09/VeltmanAsianArtMus.mp3","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many people love the Beaux Arts-style building in Civic Center that houses the Asian Art Museum, with its ornate brick and terra cotta facade.\u003c/p>\n\u003cp>But museum CEO and director, Jay Xu, acknowledges the shortcomings of the 1917 building — the former site of the San Francisco Public Library — when it comes to presenting art.\u003c/p>\n\u003cp>“Our existing special exhibition spaces are disconnected,” Xu says. “You have to go through several, separate disconnected rooms in order to finish your exhibition.”\u003c/p>\n\u003cfigure id=\"attachment_13809364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809364\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-800x453.jpg\" alt=\"Asian Art Museum Art Terrace, concept design by wHY, 2017. Rendering © wHY and Asian Art Museum. (Pictured artworks for illustration only.)\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/170522_Art-Terrace-e1506265656249-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asian Art Museum Art Terrace, concept design by wHY, 2017. \u003ccite>(Photo: Courtesy of wHY and Asian Art Museum.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the museum hired architect Kulapat Yantrasast of the Los Angeles firm \u003ca href=\"http://why-site.com/\" target=\"_blank\" rel=\"noopener noreferrer\">wHY\u003c/a> to improve the sense of transparency and flow. “The museum must have good circulation, and be easy to navigate,” Yantrasast says. “We also make sure the masterpieces stand out.”\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>A native of Thailand, Yantrasast is making a name for himself in museum and gallery design. His past credits include the Speed Art Museum in Kentucky, and galleries at the Art Institute of Chicago and the Harvard Art Museum. Locally, he designed San Francisco’s Gagosian Gallery.\u003c/p>\n\u003cp>The Asian Art Museum’s new $38 million, 13,000-square-foot pavilion is just one piece of the museum’s vision for the future. Xu says the privately-funded expansion plan also includes enhanced programming and education offerings, upgrades to the digital experience, and a $25 million endowment.\u003c/p>\n\u003cfigure id=\"attachment_13809365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-800x452.jpg\" alt=\"Asian Art Museum executive director Jay Xu and architect Kulapat Yantrasast pose in front of the plans for the museums expansion.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Xu-and-Yantrasast-e1506265864983-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asian Art Museum executive director Jay Xu and architect Kulapat Yantrasast pose in front of the plans for the museums expansion. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Xu says the institution has so far raised around two-thirds of the total $90 million capital campaign through donations, including the largest financial gift in the museum’s history from Silicon Valley entrepreneur Jerry Yang and his wife Akiko Yamazaki. Yamazaki chairs the museum’s boards.\u003c/p>\n\u003cp>“We came up with this vision to explore Asian art’s relevance in American life and make Asian art and culture an essential part of our life today,” Xu says of the overall development strategy. Xu says he and his team started working on the plan eight years ago, not long after he came on board as executive director.\u003c/p>\n\u003cp>Bay Area artist Ranu Mukhergee has exhibited work at the museum several times before. She hopes the new pavilion will enhance the institution’s reputation for new work.\u003c/p>\n\u003cp>“They’ve been making contemporary art shows for a while, but they’re less known for that,” Mukhergee says. “I think it’s an opportunity for them to show their commitment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Asian Art Museum is the latest in the line of large Bay Area arts organizations to undergo major redevelopments. The \u003ca href=\"https://www.sfmoma.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a> re-opened last year after raising $610 million on an expansion plan which included tripling its gallery space from 70,000 square feet to 170,000 square feet. $305 million went towards construction costs. \u003c/span>\u003c/p>\n\u003cp>The Asian Art museum is expecting to break ground on its new pavilion early next year. The expanded facility is scheduled to open to the public in 2019.\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> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809355/asian-art-museum-moves-toward-90-million-transformation","authors":["8608"],"categories":["arts_235","arts_70"],"tags":["arts_2250","arts_1434","arts_901"],"featImg":"arts_13809356","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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