SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel
A New Piece of Public Art Makes a Point Above Yerba Buena Island
At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay
The New Southeast Community Center Is Filled With Art and Promise
Your Guide to This Summer’s Don’t-Miss Visual Art Shows
San Francisco’s Minna and Natoma Streets to Become an Art Corridor
SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’
SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally
There's a New Director of Cultural Affairs in San Francisco
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the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n","blocks":[],"excerpt":"After an outpouring of community feedback, the SFAC took the opportunity to reassess the 1970 sculpture.\r\n","status":"publish","parent":0,"modified":1705003072,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":851},"headData":{"title":"SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel | KQED","description":"After an outpouring of community feedback, the SFAC took the opportunity to reassess the 1970 sculpture.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel","datePublished":"2023-11-20T22:58:38.000Z","dateModified":"2024-01-11T19:57:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a Visual Arts Committee meeting on Nov. 15, members of the San Francisco Arts Commission voted unanimously to remove the bronze and brass dragon sculpture over the Broadway Tunnel and place the public artwork in storage.\u003c/p>\n\u003cp>The decision was prompted by planned upgrades to the 1968 Chinatown Public Health Center, which include enlarging the windows over the tunnel and eliminating the wall on which the sculpture is currently mounted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11891329","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Also on the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\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>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown","authors":["61"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_2654","arts_3835","arts_2628","arts_1146","arts_1879"],"featImg":"arts_13938298","label":"arts"},"arts_13930310":{"type":"posts","id":"arts_13930310","meta":{"index":"posts_1591205157","site":"arts","id":"13930310","score":null,"sort":[1686356076000]},"guestAuthors":[],"slug":"hiroshi-sugimoto-yerba-buena-island-public-art","title":"A New Piece of Public Art Makes a Point Above Yerba Buena Island","publishDate":1686356076,"format":"standard","headTitle":"A New Piece of Public Art Makes a Point Above Yerba Buena Island | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>While crossing the Bay Bridge or looking out from the Embarcadero, you may have noticed a silvery, pointy, futuristic-looking shape atop the western part of Yerba Buena Island. Below is everything you need to know about the new piece of public art by world-renowned artist, \u003ca href=\"https://www.sugimotohiroshi.com/\">Hiroshi Sugimoto\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>So what is it?\u003c/strong>\u003c/p>\n\u003cp>It’s called \u003cem>Point of Infinity\u003c/em>. Sugimoto says an infinity point “means the edge of the universe.” Contemplating that idea, he designed a conceptual piece that he describes as “two lines coming closer and closer, but never meeting. But finding that the meeting point was at the infinity point.”\u003c/p>\n\u003cp>Sugimoto is best known for his black-and-white photography, but over his long career, he has also created a number of \u003ca href=\"https://www.sugimotohiroshi.com/site-specific-arts\">site-specific works\u003c/a> like the one that now sits atop Yerba Buena Island.\u003c/p>\n\u003cfigure id=\"attachment_13930371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg\" alt=\"A man in a white coat and jeans stands in front of a large sculpture.\" width=\"800\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The artist, Hiroshi Sugimoto, with his work, “Point of Infinity.” \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this work, he also drew inspiration from Treasure Island’s history. The island was originally built to host the Golden Gate International Exposition (aka the World’s Fair) in 1939, which featured a sundial sculpture called \u003cem>\u003ca href=\"https://calisphere.org/item/f42e9a38615e276872ede846cc59b6d2/\">Tower of the Sun\u003c/a>\u003c/em>. Sugimoto says a sense of time is a key concept in all his art and \u003cem>Point of Infinity\u003c/em> is also meant to serve as a sundial on the spring and autumnal equinoxes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think this can be like an ancient ruin. A symbol of this 21st century civilization,” Sugimoto said at a press event earlier this week. “Just in case humans disappeared, this piece would remain, as we look at the Egyptian pyramids [from] 5,000 years before. So I hope this can be a symbol of our time of civilization.”\u003c/p>\n\u003cp>\u003cstrong>Is it a sculpture or …?\u003c/strong>\u003c/p>\n\u003cp>Technically, yes. But more specifically, Sugimoto describes it as “a mathematical model, [that] has a sculptural form.” He’s done this kind of \u003ca href=\"https://www.sugimotohiroshi.com/mathematical-models\">mathematical modeling\u003c/a> with his art before; he actually used math equations to achieve this design.\u003c/p>\n\u003cp>The base is made out of concrete panels reinforced by glass fiber that gives it a slight mosaic look when seen up close, and the upper part is mirror-polished marine-grade stainless steel.\u003c/p>\n\u003cp>\u003cstrong>How big is \u003cem>Point of Infinity\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>It’s 69 feet tall with a 23-foot base that tapers to the point, which is just a teeny-tiny seven-eighths of an inch.\u003c/p>\n\u003cfigure id=\"attachment_13930380\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930380 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg\" alt=\"A gray and silver sculpture in a park.\" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-768x431.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">“Point of Infinity” sculpture in Hilltop Park on Yerba Buena Island with a view of Treasure Island. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s it doing on Yerba Buena Island?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> is the inaugural artwork commissioned for the \u003ca href=\"https://www.sfartscommission.org/content/treasure-island-arts-master-plan\">Treasure Island Art Program\u003c/a>, a project run by the San Francisco Arts Commission and the \u003ca href=\"https://sf.gov/information/treasure-islandyerba-buena-island-development-project\">Treasure Island Development Authority\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_10826872']In 2005, when plans to redevelop Treasure Island were taking shape, Jill Manton, the director of the SFAC’s Public Art Trust and Special Initiatives, successfully lobbied then-mayor Gavin Newsom to apply a city rule that new building projects set aside one percent of the construction budget for public art. That translates to a fund of up to $50 million for the Treasure Island Art Program.\u003c/p>\n\u003cp>When the program issued a public call for artwork, Sugimoto was one of the first to apply, and was ultimately selected from a finalist pool that included artists Chakaia Booker and Andy Goldsworthy. A number of other to-be-revealed works are currently in progress, but Sugimoto’s \u003cem>Point of Infinity\u003c/em> leads the charge.\u003c/p>\n\u003cp>“When I saw his sculpture on the site, I was moved to tears,” Manton said. “Because it was really the fulfillment of a dream that I had to make Treasure Island this incredible destination for the arts. And what better way than to start with a truly landmark, monumental artwork like this?”\u003c/p>\n\u003cfigure id=\"attachment_13930372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg\" alt=\"A sculpture on a hill at night.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of “Point of Infinity” on Yerba Buena Island at night. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where exactly is it located? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> sits in \u003ca href=\"https://www.hooddesignstudio.com/hilltop\">Hilltop Park\u003c/a>, one of two new parks designed by \u003ca href=\"https://www.hooddesignstudio.com/\">Hood Design Studio\u003c/a>, the firm of Bay Area landscape architect and MacArthur ‘Genius’ grant recipient \u003ca href=\"https://www.macfound.org/fellows/class-of-2019/walter-hood#searchresults\">Walter Hood\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Can anyone go to the park and see it up close?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon! Both the park and artwork are expected to open to the public in November. In addition to seeing \u003cem>Point of Infinity\u003c/em>, you will have a beautiful 360-degree view of the Bay. So when you visit, you could say you’re looking to infinity … and beyond.\u003c/p>\n\n","blocks":[],"excerpt":"Have you spied a silvery spire from the freeway? We’ve got the answers to all your questions about Hiroshi Sugimoto’s new sculpture.","status":"publish","parent":0,"modified":1705005390,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":765},"headData":{"title":"New Public Art Makes a Point Above Yerba Buena Island | KQED","description":"Have you spied a silvery spire from the freeway? We’ve got the answers to all your questions about Hiroshi Sugimoto’s new sculpture.","ogTitle":"A New Piece of Public Art Makes a Point Above Yerba Buena Island","ogDescription":"","ogImgId":"","twTitle":"A New Piece of Public Art Makes a Point Above Yerba Buena Island","twDescription":"","twImgId":"","socialTitle":"New Public Art Makes a Point Above Yerba Buena Island %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Piece of Public Art Makes a Point Above Yerba Buena Island","datePublished":"2023-06-10T00:14:36.000Z","dateModified":"2024-01-11T20:36:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/df24bac7-34c8-4507-a7db-b0200119868c/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930310/hiroshi-sugimoto-yerba-buena-island-public-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While crossing the Bay Bridge or looking out from the Embarcadero, you may have noticed a silvery, pointy, futuristic-looking shape atop the western part of Yerba Buena Island. Below is everything you need to know about the new piece of public art by world-renowned artist, \u003ca href=\"https://www.sugimotohiroshi.com/\">Hiroshi Sugimoto\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>So what is it?\u003c/strong>\u003c/p>\n\u003cp>It’s called \u003cem>Point of Infinity\u003c/em>. Sugimoto says an infinity point “means the edge of the universe.” Contemplating that idea, he designed a conceptual piece that he describes as “two lines coming closer and closer, but never meeting. But finding that the meeting point was at the infinity point.”\u003c/p>\n\u003cp>Sugimoto is best known for his black-and-white photography, but over his long career, he has also created a number of \u003ca href=\"https://www.sugimotohiroshi.com/site-specific-arts\">site-specific works\u003c/a> like the one that now sits atop Yerba Buena Island.\u003c/p>\n\u003cfigure id=\"attachment_13930371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg\" alt=\"A man in a white coat and jeans stands in front of a large sculpture.\" width=\"800\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The artist, Hiroshi Sugimoto, with his work, “Point of Infinity.” \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this work, he also drew inspiration from Treasure Island’s history. The island was originally built to host the Golden Gate International Exposition (aka the World’s Fair) in 1939, which featured a sundial sculpture called \u003cem>\u003ca href=\"https://calisphere.org/item/f42e9a38615e276872ede846cc59b6d2/\">Tower of the Sun\u003c/a>\u003c/em>. Sugimoto says a sense of time is a key concept in all his art and \u003cem>Point of Infinity\u003c/em> is also meant to serve as a sundial on the spring and autumnal equinoxes.\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 think this can be like an ancient ruin. A symbol of this 21st century civilization,” Sugimoto said at a press event earlier this week. “Just in case humans disappeared, this piece would remain, as we look at the Egyptian pyramids [from] 5,000 years before. So I hope this can be a symbol of our time of civilization.”\u003c/p>\n\u003cp>\u003cstrong>Is it a sculpture or …?\u003c/strong>\u003c/p>\n\u003cp>Technically, yes. But more specifically, Sugimoto describes it as “a mathematical model, [that] has a sculptural form.” He’s done this kind of \u003ca href=\"https://www.sugimotohiroshi.com/mathematical-models\">mathematical modeling\u003c/a> with his art before; he actually used math equations to achieve this design.\u003c/p>\n\u003cp>The base is made out of concrete panels reinforced by glass fiber that gives it a slight mosaic look when seen up close, and the upper part is mirror-polished marine-grade stainless steel.\u003c/p>\n\u003cp>\u003cstrong>How big is \u003cem>Point of Infinity\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>It’s 69 feet tall with a 23-foot base that tapers to the point, which is just a teeny-tiny seven-eighths of an inch.\u003c/p>\n\u003cfigure id=\"attachment_13930380\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930380 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg\" alt=\"A gray and silver sculpture in a park.\" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-768x431.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">“Point of Infinity” sculpture in Hilltop Park on Yerba Buena Island with a view of Treasure Island. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s it doing on Yerba Buena Island?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> is the inaugural artwork commissioned for the \u003ca href=\"https://www.sfartscommission.org/content/treasure-island-arts-master-plan\">Treasure Island Art Program\u003c/a>, a project run by the San Francisco Arts Commission and the \u003ca href=\"https://sf.gov/information/treasure-islandyerba-buena-island-development-project\">Treasure Island Development Authority\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_10826872","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 2005, when plans to redevelop Treasure Island were taking shape, Jill Manton, the director of the SFAC’s Public Art Trust and Special Initiatives, successfully lobbied then-mayor Gavin Newsom to apply a city rule that new building projects set aside one percent of the construction budget for public art. That translates to a fund of up to $50 million for the Treasure Island Art Program.\u003c/p>\n\u003cp>When the program issued a public call for artwork, Sugimoto was one of the first to apply, and was ultimately selected from a finalist pool that included artists Chakaia Booker and Andy Goldsworthy. A number of other to-be-revealed works are currently in progress, but Sugimoto’s \u003cem>Point of Infinity\u003c/em> leads the charge.\u003c/p>\n\u003cp>“When I saw his sculpture on the site, I was moved to tears,” Manton said. “Because it was really the fulfillment of a dream that I had to make Treasure Island this incredible destination for the arts. And what better way than to start with a truly landmark, monumental artwork like this?”\u003c/p>\n\u003cfigure id=\"attachment_13930372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg\" alt=\"A sculpture on a hill at night.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of “Point of Infinity” on Yerba Buena Island at night. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where exactly is it located? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> sits in \u003ca href=\"https://www.hooddesignstudio.com/hilltop\">Hilltop Park\u003c/a>, one of two new parks designed by \u003ca href=\"https://www.hooddesignstudio.com/\">Hood Design Studio\u003c/a>, the firm of Bay Area landscape architect and MacArthur ‘Genius’ grant recipient \u003ca href=\"https://www.macfound.org/fellows/class-of-2019/walter-hood#searchresults\">Walter Hood\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Can anyone go to the park and see it up close?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon! Both the park and artwork are expected to open to the public in November. In addition to seeing \u003cem>Point of Infinity\u003c/em>, you will have a beautiful 360-degree view of the Bay. So when you visit, you could say you’re looking to infinity … and beyond.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930310/hiroshi-sugimoto-yerba-buena-island-public-art","authors":["11296"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_2628","arts_1879","arts_1925"],"featImg":"arts_13930376","label":"arts"},"arts_13929636":{"type":"posts","id":"arts_13929636","meta":{"index":"posts_1591205157","site":"arts","id":"13929636","score":null,"sort":[1685034035000]},"guestAuthors":[],"slug":"sfac-james-baldwin-mark-harris","title":"At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay","publishDate":1685034035,"format":"audio","headTitle":"At SFAC, a Soulful Exploration of James Baldwin’s Legacy in the Bay | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \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>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Artist Mark Harris curates a powerful exhibition inspired by the writer and activist's 1963 visit to SF.","status":"publish","parent":0,"modified":1705005456,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":342},"headData":{"title":"At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay | KQED","description":"Artist Mark Harris curates a powerful exhibition inspired by the writer and activist's 1963 visit to SF.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay","datePublished":"2023-05-25T17:00:35.000Z","dateModified":"2024-01-11T20:37:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/2efbe4a3-6fe4-410c-9734-b007010b7395/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929636/sfac-james-baldwin-mark-harris","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \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>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929636/sfac-james-baldwin-mark-harris","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_3087","arts_1300","arts_1879","arts_585","arts_699","arts_901"],"featImg":"arts_13929662","label":"arts_140"},"arts_13920940":{"type":"posts","id":"arts_13920940","meta":{"index":"posts_1591205157","site":"arts","id":"13920940","score":null,"sort":[1666832021000]},"guestAuthors":[],"slug":"new-southeast-community-center-bayview-art-sfac-sfpuc","title":"The New Southeast Community Center Is Filled With Art and Promise","publishDate":1666832021,"format":"standard","headTitle":"The New Southeast Community Center Is Filled With Art and Promise | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>[aside postid='arts_13903231'] The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='news_11927434'] Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n","blocks":[],"excerpt":"The new complex at Evans and Third pays homage to the activists who fought against environmental injustice.","status":"publish","parent":0,"modified":1705006221,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":839},"headData":{"title":"A New Art-Filled Southeast Community Center Opens in Bayview | KQED","description":"The new complex at Evans and Third pays homage to the activists who fought against environmental injustice.","ogTitle":"The New Southeast Community Center Is Filled With Art and Promise","ogDescription":"","ogImgId":"","twTitle":"The New Southeast Community Center Is Filled With Art and Promise","twDescription":"","twImgId":"","socialTitle":"A New Art-Filled Southeast Community Center Opens in Bayview %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The New Southeast Community Center Is Filled With Art and Promise","datePublished":"2022-10-27T00:53:41.000Z","dateModified":"2024-01-11T20:50:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903231","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\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 new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11927434","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc","authors":["61"],"categories":["arts_1"],"tags":["arts_4018","arts_10342","arts_4017","arts_1300","arts_1879"],"featImg":"arts_13920947","label":"arts"},"arts_13914237":{"type":"posts","id":"arts_13914237","meta":{"index":"posts_1591205157","site":"arts","id":"13914237","score":null,"sort":[1654107178000]},"guestAuthors":[],"slug":"summer-2022-visual-art-guide-museums-galleries","title":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","publishDate":1654107178,"format":"aside","headTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_12265794']San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13913947']This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","status":"publish","parent":0,"modified":1705006776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1709},"headData":{"title":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows | KQED","description":"We’ve got the Obama portraits, dance performances by the Bay, a Diego Rivera megashow and so much more.","ogTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","ogDescription":"","ogImgId":"","twTitle":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","twDescription":"","twImgId":"","socialTitle":"Summer 2022 Art Guide: Bay Area Museum and Gallery Shows %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to This Summer’s Don’t-Miss Visual Art Shows","datePublished":"2022-06-01T18:12:58.000Z","dateModified":"2024-01-11T20:59:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area exhibition schedule is back in full force! It’s a good thing the majority of the 12 recommendations below have long runs, allowing you ample time to flit from North Bay to South Bay to East Bay over the course of the next few months, soaking up all the beautiful, exciting and challenging visual art your screen-weary eyes can handle. \u003c/p>\n\u003cfigure id=\"attachment_13914252\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg\" alt=\"White book with drawn image of fireworks on cover against black background\" width=\"1200\" height=\"979\" class=\"size-full wp-image-13914252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IP-BOOK-PIC-2_1200-768x627.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Irrelevant Press’ latest publication, ‘Relevant Poetry.’ \u003ccite>(Courtesy Irrelevant Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Irrelevant Press & Friends’\u003c/h2>\n\u003cp>\u003ci>June 3–25\u003cbr>\nAggregate Space Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The eight-year-old publishing outfit \u003ca href=\"http://www.irrelevantpress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Irrelevant Press\u003c/a> (founded in Oakland but with a presence in both the Bay Area and Brooklyn) takes over Aggregate Space Gallery this June for what they’re calling “an Irrelevant experience!” The exhibition will be the collective’s first, combining their own zines and art alongside work from their expansive network of friends and collaborators. To get a sense of that communal spirit, one need only look at their most recent publication, a collection of poetry submitted via an Instagram open call that turned into the 80-page \u003ci>\u003ca href=\"http://www.irrelevantpress.com/store/relevant-poetry-by-irrelevant-press\" rel=\"noopener noreferrer\" target=\"_blank\">Relevant Poetry\u003c/a>\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13914251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg\" alt=\"cast metal infinity sign with metal post running through it\" width=\"2000\" height=\"1399\" class=\"size-full wp-image-13914251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-800x560.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1020x713.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-160x112.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-768x537.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1536x1074.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/30541455-7871-cb39-bd36-21b1f2ae4e21_0-1920x1343.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ricki Dwyer, ‘Student Forever,’ 2022; Cast brass and iron. \u003ccite>(Courtesy of John Michael Kohler Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ricki Dwyer, ‘Brass Tacks’\u003c/h2>\n\u003cp>\u003ci>June 10–July 30\u003cbr>\nAnglim/Trimble, San Francisco\u003cbr>\n\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/ricki-dwyer-brass-tacks\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>A show of textile work and cast brass hardware that addresses the deregulation of the labor market? Sign me up. \u003ca href=\"https://www.ricki.website/\" rel=\"noopener noreferrer\" target=\"_blank\">Ricki Dwyer\u003c/a>, fresh from a foundry residency at the Kohler Arts Center, considers the gallery of Anglim/Trimble as a body to be dressed in a suspended, artist-made garment. Dwyer’s previous work has played with tension and gravity, juxtaposing small and large-scale elements in exciting dialogue. His own hand is always present in the making, whether woven or welded.\u003c/p>\n\u003cfigure id=\"attachment_13914254\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ConnerComp_1200.jpg\" alt=\"Composite image of blue-hued collage on left and red flowery painting on right\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13914254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ConnerComp_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Jean Conner, ‘Diver,’ 1982 is on view at the SJMA; Right: Jean Conner, ‘Aztec Warrior,’ 1990 will be at MarinMOCA. \u003ccite>(L: © Conner Family Trust, San Francisco, and Artists Rights Society (ARS), New York; R: Courtesy the Conner Family Trust and Hosfelt Gallert, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jean Conner, ‘Collage’ and ‘Inner Garden’\u003c/h2>\n\u003cp>\u003ci>San Jose Museum of Art\u003cbr>\nMay 6–Sept. 25\u003cbr>\n\u003ca href=\"https://sjmusart.org/exhibition/jean-conner-collage\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>MarinMOCA, Novato\u003cbr>\nJune 18–Aug. 28\u003cbr>\n\u003ca href=\"http://%E2%80%8B%E2%80%8Bmarinmoca.org/exhibitions/event/150/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12265794","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco artist Jean Conner is having quite the year. With her absorbing collage work on view in San Jose and over 60 pieces coming soon to MarinMOCA, a tour of her nearly seven-decade career could form the basis of a rewarding Bay Area road trip. At the SJMA, Conner’s collages juxtapose images from large-format color magazines of the ’50s and ’60s into surreal, darkly humorous and at times frenetically maximalist arrangements. Meanwhile, \u003ci>Inner Garden\u003c/i> focuses across media on the artist’s interests in nature and spirituality. Both shows are filled with work that will likely be new to many—a combination of the artist’s reticence and the more prominent role of her late husband (Bruce Conner) in the art world. But it’s never too late! Now is the time to get to know Jean Conner’s oeuvre.\u003c/p>\n\u003cfigure id=\"attachment_13914258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg\" alt=\"Open cloak with radiating painted lines, edges with brown and ivory feathers\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13914258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Painted-Cloak_1200-768x468.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Villa, ‘Painted Cloak,’ 1971; Airbrushed acrylic on unstretched canvas with lining of feathers and taffeta. \u003ccite>(© Estate of Carlos Villa; Photograph by Joe McDonal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carlos Villa, ‘Worlds in Collision’ and ‘Roots and Reinvention’\u003c/h2>\n\u003cp>\u003ci>Asian Art Museum, San Francisco\u003cbr>\nJune 17–Oct. 24\u003cbr>\n\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>San Francisco Arts Commission Galleries\u003cbr>\nJune 17–Sept. 3\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This one’s really a summer-into-fall recommendation. \u003ci>Worlds in Collision\u003c/i>, the first major museum retrospective dedicated to the work of San Francisco-born Filipino American artist Carlos Villa, is joined this month by the SFAC’s \u003ci>Roots and Reinvention\u003c/i> and, later, an \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/carlos-villa-worlds-in-collision\" rel=\"noopener noreferrer\" target=\"_blank\">SFAI exhibition\u003c/a> (coming Sept. 21). If you aren’t familiar with the late artist and educator’s work, or why he deserves three full shows chronicling his output, the Asian Art Museum would be a good place to start: a large-scale survey of Villa’s drawings, mixed-media paintings and sculptural constructions from the 1970s. Across the Civic Center, SFAC picks up the thread with work from the ’80s and ’90s, when Villa began addressing the history of Filipinos in the United States, the experience of being part of a diaspora, and his own family archives.\u003c/p>\n\u003cfigure id=\"attachment_13914260\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Obamas_1200.jpg\" alt=\"\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13914260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Obamas_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Kehinde Wiley, ‘Barack Obama,’ 2018; R: Amy Sherald, ‘Michelle LaVaughn Robinson Obama,’ 2018. \u003ccite>(L: © 2018 Kehinde Wiley; Both portraits courtesy of the Smithsonian’s National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Obama Portraits Tour\u003c/h2>\n\u003cp>\u003ci>de Young, San Francisco\u003cbr>\nJune 18–Aug. 14\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Obama-portraits-tour\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This one’s a no-brainer. If you’re not lugging yourself to our nation’s capital on the regular, chances are this two-month stop at the de Young is your best chance to see Kehinde Wiley’s portrait of President Barack Obama and Amy Sherald’s painting of Michelle Obama in person. And while visiting these works outside of the context of the Smithsonian’s National Portrait Gallery will remove some of the emotional and visual impact of seeing the first Black subjects in the ongoing \u003ci>America’s Presidents\u003c/i> display, I have a feeling these monumental works carry their own aura along with them. \u003c/p>\n\u003cfigure id=\"attachment_13914261\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg\" alt=\"Five dancers pose mid-action on blocks and railings\" width=\"801\" height=\"570\" class=\"size-full wp-image-13914261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide.jpeg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-160x114.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sara_mann_excavations-1_smallslide-768x547.jpeg 768w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world.’ \u003ccite>(Courtesy Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sara Shelton Mann, ‘7 Excavations / at the edge of the shore and the edge of the world’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 21, 8–10pm\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sara-shelton-mann-excavations/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>With a team of artists, Bay Area choreographer, poet and teacher Sara Shelton Mann holds court on the Fort Mason campus from June 6–21, unfolding “an open process of experimental performance-making” over the course of the month. While viewers can stop by to experience open rehearsals and workshops, the residency culminates on June 21 (the summer solstice) with a one-night-only performance of solos, duets and large ensemble pieces created onsite. Incorporating chalk grids, video, sound and art installations, \u003ci>7 Excavations\u003c/i> will be performed with the dreamiest of collaborators: the setting sun, the Golden Gate Bridge, and the watery expanse of San Francisco Bay.\u003c/p>\n\u003cfigure id=\"attachment_13914276\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg\" alt=\"Sculpture that looks like a tangle of multicolored fabric strips\" width=\"1200\" height=\"1524\" class=\"size-full wp-image-13914276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Cheesecake-14_1200-768x975.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ramekon O’Arwisters, ‘Cheesecake #14,’ 2019; Fabric, ceramics from CSULB ceramic program, beads, pins. \u003ccite>(Courtesy of the artist and Patricia Sweetow Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Collective Arising: The Insistence of Black Bay Area Artists’\u003c/h2>\n\u003cp>\u003ci>Museum of Sonoma County, Santa Rosa\u003cbr>\nJune 25–Nov. 27\u003cbr>\n\u003ca href=\"https://museumsc.org/collective-arising/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Collectives have long been a way for artists—especially those disregarded or undervalued by dominant art world systems—to join forces, amplify their voices and organize around common goals. \u003ci>Collective Arising\u003c/i>, curated by Ashara Ekundayo and Lucia Olubunmi R. Momoh, surveys contemporary Black artists who have drawn strength from interdisciplinary collectives. Included in the show are members of nure, 3.9 Collective, House of Malico, CTRL+SHFT, and Black [Space] Residency, representing a wide spectrum of Bay Area artistic practices—and an exciting testament to homegrown talent.\u003c/p>\n\u003cfigure id=\"attachment_13914294\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg\" alt=\"Older woman with crossed arms in front of shingled wall covered in clay masks\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13914294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Ruth-Asawa-with-Face-Mask-Wall_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Asawa with life masks on the exterior wall of her house in a photograph by Terry Schmitt. \u003ccite>(© 2022 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York; Courtesy David Zwirner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Heavy Hitters\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘The Faces of Ruth Asawa’\u003c/b>\u003cbr>\nCantor Arts Center\u003cbr>\nJuly 6–ongoing\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/exhibitions/faces-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>Faith Ringgold, ‘American People’\u003c/b>\u003cbr>\nde Young, San Francisco\u003cbr>\nJuly 16–Nov. 27\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/exhibitions/Faith-Ringgold-American-People\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cb>‘Diego Rivera’s America’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nJuly 16, 2022–Jan. 2, 2023\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/exhibition/diego-riveras-america/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The summer exhibition schedule is full of major museum blockbusters that don’t need much help from me in the promotion department. That said, I can’t not mention these three. Over 200 clay masks made by beloved Bay Area sculptor Ruth Asawa will be shown together at a museum for the first time, newly acquired from the estate as part of the Cantor’s Asian American Art Initiative. \u003c/p>\n\u003cp>At the de Young, a retrospective of artist, author, educator and organizer Faith Ringgold brings 50 years of the 91-year-old’s work to Bay Area audiences. Spanning generations, Ringgold’s work acts as witness to both steps forward and back slides in the project of this country’s political and social progress. \u003c/p>\n\u003cp>And finally, the long-delayed look at Diego Rivera’s work from the 1920s to the mid-1940s, including paintings, frescoes and drawings that explore the artist’s “vision for North America”—a fitting partner to the epic \u003ci>Pan American Unity\u003c/i> fresco on view in SFMOMA’s Howard Street-facing gallery. \u003c/p>\n\u003cfigure id=\"attachment_13914262\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg\" alt=\"Ornate white stone atrium with grid of red objects on floor\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Alison-Knowles-Celebration-Red-Carnegie-Museum-of-Art-2016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Alison Knowles’ ‘Celebration Red (Homage to Each Red Thing),’ 1994/2016 at the Carnegie Museum of Art, Pittsburgh. \u003ccite>(Courtesy the Carnegie Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘by Alison Knowles, A Retrospective (1960–2022)’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJuly 20–Dec. 18\u003cbr>\n\u003ca href=\"https://bampfa.org/program/alison-knowles-retrospective\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>There are a lot of retrospectives on this list, and many of them fall into the “rediscovered older woman” trope. But I critique that genre out of love, so I will continue to be excited when these shows are announced. Alison Knowles has her roots in Fluxus, the avant-garde art group that produced happenings, conceptual “event scores” (like Yoko Ono’s \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Grapefruit_(book)\" rel=\"noopener noreferrer\" target=\"_blank\">Grapefruit\u003c/a>\u003c/i>) and all manner of experiments that pushed the boundaries of art in the ’60s and ’70s. This presentation spans Knowles’ entire (and still active) career, showcasing her long focus on ordinary objects and the stuff of everyday life. Even a small sampling of her work is fittingly eclectic: silk-screened paintings, “major intermedia projects,” cyanotypes, radio works, “flax and bean sculptures,” and artists’ books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914237/summer-2022-visual-art-guide-museums-galleries","authors":["61"],"categories":["arts_1","arts_1003","arts_70"],"tags":["arts_2402","arts_2250","arts_2227","arts_3935","arts_879","arts_1210","arts_2647","arts_10342","arts_10278","arts_2013","arts_1006","arts_3648","arts_10561","arts_1187","arts_1879","arts_3992","arts_1381"],"featImg":"arts_13914260","label":"arts"},"arts_13904311":{"type":"posts","id":"arts_13904311","meta":{"index":"posts_1591205157","site":"arts","id":"13904311","score":null,"sort":[1633701620000]},"guestAuthors":[],"slug":"minna-natoma-art-corridor-sfac-sfmoma-public-works","title":"San Francisco’s Minna and Natoma Streets to Become an Art Corridor","publishDate":1633701620,"format":"standard","headTitle":"San Francisco’s Minna and Natoma Streets to Become an Art Corridor | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s not often that major overhauls to San Francisco’s downtown streets also involve the careful selection of artist-designed bike racks. Or colorful asphalt art inlaid into newly paved thoroughfares. But a new streetscape project, a collaboration between city departments, the San Francisco Museum of Modern Art and the Yerba Buena Community Benefit District plans to turn about 800 feet of Minna and Natoma Streets into an arts corridor, with help from designs by five local artists.\u003c/p>\n\u003cp>Estimated to be finished by the fall of 2023, the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/minna-natoma-art-corridor-project\" rel=\"noopener noreferrer\" target=\"_blank\">Minna Natoma Art Corridor\u003c/a> hopes to transform the narrow streets into a “unique pedestrian destination,” as well as an appealing alternative to busier east-west routes like Mission and Howard.\u003c/p>\n\u003cfigure id=\"attachment_13904332\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop.jpg\" alt=\"Models of benches chairs and sculptures.\" width=\"1200\" height=\"369\" class=\"size-full wp-image-13904332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-800x246.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-1020x314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-768x236.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An image from Jesse Schlesinger’s SFAC proposal for Natoma street furniture. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://sfgov.org/arts/sites/default/files/Minna%20Natoma%20Art%20Corridor_Aug%202021%20VAC.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">five artists selected\u003c/a> by a San Francisco Arts Commission (SFAC)-organized committee will design large-scale street murals (to be made with colored thermoplastic) and street furniture (benches, chairs, bollards and bike racks). Oakland painter \u003ca href=\"https://www.instagram.com/muzae/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Muzae Sesay\u003c/a>’s proposal for the two stretches of Natoma Street resembles a stack of cozy homes with arched front doors. Sculptor and woodworker \u003ca href=\"https://www.jesseschlesinger.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jesse Schlesinger\u003c/a> is in charge of Natoma’s street furniture; his designs use natural elements like salvaged old-growth redwood to connect the green space atop the Transbay Transit Center with Yerba Buena Gardens.\u003c/p>\n\u003cp>[aside postID='arts_13839094']On the longer stretch of Minna Street, two artists will take over the asphalt art. \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\" rel=\"noopener noreferrer\" target=\"_blank\">Barbara Stauffacher Solomon\u003c/a>, known for her supergraphics, has proposed a pattern of red-booted legs angled to cleverly denote the traffic direction and pay homage to one \u003ca href=\"https://www.foundsf.org/index.php?title=SOMA_Side_Streets_Named_After_Ladies\" rel=\"noopener noreferrer\" target=\"_blank\">oft-repeated story\u003c/a> of how the street got its name (hint: sex workers). The neighborhood’s history and current population (the project is located squarely in \u003ca href=\"https://www.somapilipinas.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SOMA Pilipinas\u003c/a>, San Francisco’s Filipino Heritage District) also informs \u003ca href=\"http://melveracruz.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mel Vera Cruz\u003c/a>’s proposals, which feature designs inspired by Filipino baníg mats and hablon (hand-woven fabric in colorful plaids). \u003ca href=\"http://www.masakomiki.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Masako Miki\u003c/a>’s sketches for Minna’s street furniture draw from Filipino myths, creating simplified, three-dimensional forms based on boulders, the sea, sun, moon and stars.\u003c/p>\n\u003cfigure id=\"attachment_13904328\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/BobbieMinnaProposal_crop.jpg\" alt=\"Red legs form a series of arrows pointing to the right.\" width=\"1200\" height=\"824\" class=\"size-full wp-image-13904328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-768x527.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An image from Barbara Stauffacher Solomon’s proposal for Minna Street’s asphalt art. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jill Manton, the SFAC’s director of special initiatives and the Public Art Trust, says the fact that Public Works thought to integrate artworks into infrastructure improvements is by itself an achievement. While many downtown construction projects trigger the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/public-art\" rel=\"noopener noreferrer\" target=\"_blank\">2%-for-art requirement\u003c/a>, streetscape upgrades are exempt from that rule.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet the Minna Natoma Art Corridor Project has encompassed both functional and aesthetic considerations from its very start, evocative of the city departments involved: the SFAC, Planning Department, Public Works and Municipal Transportation Agency. “I loved that our colleagues [in other departments] are now sort of art advocates,” Manton says. “[They] are now recognizing the benefit and value of having artists’ involvement.”\u003c/p>\n\u003cfigure id=\"attachment_13904329\" class=\"wp-caption aligncenter\" style=\"max-width: 1831px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/CruzMinnaProposal_crop.jpg\" alt=\"Image of woven pattern on street.\" width=\"1831\" height=\"689\" class=\"size-full wp-image-13904329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop.jpg 1831w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-800x301.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-1020x384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-768x289.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-1536x578.jpg 1536w\" sizes=\"(max-width: 1831px) 100vw, 1831px\">\u003cfigcaption class=\"wp-caption-text\">Part of Mel Vera Cruz’s proposal for asphalt art on Minna Street. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the actual fabrication of the asphalt art and street furniture will be carried out by general contractors and other professionals, the artists will be part of every step leading up to final installation, approving mock-ups, materials, colors and placement on the street. Each artist will receive $30,000–$35,000 for their designs.\u003c/p>\n\u003cp>[aside postID='arts_13815067']Further phases of the art corridor may include stand-alone artistic interventions (like murals, window installations or light projections) that could be commissioned on both public and private property, depending on fundraising. Manton is excited for the current streetscape improvements to inspire future projects. “We hope that this created sort of a nexus in these two very long blocks,” she says. “I think there’s great potential there for other activations.”\u003c/p>\n\u003cp>Previous projects like \u003ca href=\"https://www.instagram.com/sitesunseen/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Sites Unseen\u003c/a> have used private funding to install public art in the same vicinity. Hank Willis Thomas’ neon piece \u003ci>\u003ca href=\"https://www.kqed.org/arts/13815067/in-new-public-art-hank-willis-thomas-lights-up-a-loving-message\" rel=\"noopener noreferrer\" target=\"_blank\">Love Over Rules\u003c/a>\u003c/i> lights up over Annie Alley, Barry McGee’s paintings adorn the Moscone Center Garage, and Leah Rosenberg’s colorful niche seating already lines a section of Natoma Street near the corner of New Montgomery. (Manton says as far as she knows, Rosenberg’s piece will remain in place when this project is complete.)\u003c/p>\n\u003cfigure id=\"attachment_13904330\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MikiMinnaProposal_crop.jpg\" alt=\"\" width=\"1200\" height=\"882\" class=\"size-full wp-image-13904330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-768x564.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Images from Masako Miki’s proposal for Minna street furniture. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But missing from those previous efforts to enliven public space was the added transformative power of—wait for it—infrastructure. The Minna Natoma Art Corridor aims to create a more pedestrian-friendly route through SoMa with widened sidewalks, new pedestrian “bulbouts,” raised crosswalks, and new mid-block traffic signals and crossings on 2nd Street and New Montgomery. Furthermore, the Yerba Buena Community Benefit District has volunteered to maintain the artworks after their installation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the Minna Natoma Art Corridor will definitely yield a more attractive—and safer—route between the Transbay Transit Center and the hub of cultural institutions surrounding Yerba Buena Gardens, Manton has even loftier goals for the site and its integrated artworks: “I think hopefully it might become a destination instead of just a pass-through area.”\u003c/p>\n\n","blocks":[],"excerpt":"Artist-designed street murals and furniture aim to make the area a pedestrian destination.","status":"publish","parent":0,"modified":1705007635,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":896},"headData":{"title":"San Francisco’s Minna and Natoma Streets to Become an Art Corridor | KQED","description":"Artist-designed street murals and furniture aim to make the area a pedestrian destination.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco’s Minna and Natoma Streets to Become an Art Corridor","datePublished":"2021-10-08T14:00:20.000Z","dateModified":"2024-01-11T21:13:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13904311/minna-natoma-art-corridor-sfac-sfmoma-public-works","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not often that major overhauls to San Francisco’s downtown streets also involve the careful selection of artist-designed bike racks. Or colorful asphalt art inlaid into newly paved thoroughfares. But a new streetscape project, a collaboration between city departments, the San Francisco Museum of Modern Art and the Yerba Buena Community Benefit District plans to turn about 800 feet of Minna and Natoma Streets into an arts corridor, with help from designs by five local artists.\u003c/p>\n\u003cp>Estimated to be finished by the fall of 2023, the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/minna-natoma-art-corridor-project\" rel=\"noopener noreferrer\" target=\"_blank\">Minna Natoma Art Corridor\u003c/a> hopes to transform the narrow streets into a “unique pedestrian destination,” as well as an appealing alternative to busier east-west routes like Mission and Howard.\u003c/p>\n\u003cfigure id=\"attachment_13904332\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop.jpg\" alt=\"Models of benches chairs and sculptures.\" width=\"1200\" height=\"369\" class=\"size-full wp-image-13904332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-800x246.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-1020x314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/SchlesingerNatomaProposal_crop-768x236.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An image from Jesse Schlesinger’s SFAC proposal for Natoma street furniture. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://sfgov.org/arts/sites/default/files/Minna%20Natoma%20Art%20Corridor_Aug%202021%20VAC.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">five artists selected\u003c/a> by a San Francisco Arts Commission (SFAC)-organized committee will design large-scale street murals (to be made with colored thermoplastic) and street furniture (benches, chairs, bollards and bike racks). Oakland painter \u003ca href=\"https://www.instagram.com/muzae/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Muzae Sesay\u003c/a>’s proposal for the two stretches of Natoma Street resembles a stack of cozy homes with arched front doors. Sculptor and woodworker \u003ca href=\"https://www.jesseschlesinger.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jesse Schlesinger\u003c/a> is in charge of Natoma’s street furniture; his designs use natural elements like salvaged old-growth redwood to connect the green space atop the Transbay Transit Center with Yerba Buena Gardens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13839094","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>On the longer stretch of Minna Street, two artists will take over the asphalt art. \u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\" rel=\"noopener noreferrer\" target=\"_blank\">Barbara Stauffacher Solomon\u003c/a>, known for her supergraphics, has proposed a pattern of red-booted legs angled to cleverly denote the traffic direction and pay homage to one \u003ca href=\"https://www.foundsf.org/index.php?title=SOMA_Side_Streets_Named_After_Ladies\" rel=\"noopener noreferrer\" target=\"_blank\">oft-repeated story\u003c/a> of how the street got its name (hint: sex workers). The neighborhood’s history and current population (the project is located squarely in \u003ca href=\"https://www.somapilipinas.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SOMA Pilipinas\u003c/a>, San Francisco’s Filipino Heritage District) also informs \u003ca href=\"http://melveracruz.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mel Vera Cruz\u003c/a>’s proposals, which feature designs inspired by Filipino baníg mats and hablon (hand-woven fabric in colorful plaids). \u003ca href=\"http://www.masakomiki.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Masako Miki\u003c/a>’s sketches for Minna’s street furniture draw from Filipino myths, creating simplified, three-dimensional forms based on boulders, the sea, sun, moon and stars.\u003c/p>\n\u003cfigure id=\"attachment_13904328\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/BobbieMinnaProposal_crop.jpg\" alt=\"Red legs form a series of arrows pointing to the right.\" width=\"1200\" height=\"824\" class=\"size-full wp-image-13904328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/BobbieMinnaProposal_crop-768x527.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An image from Barbara Stauffacher Solomon’s proposal for Minna Street’s asphalt art. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jill Manton, the SFAC’s director of special initiatives and the Public Art Trust, says the fact that Public Works thought to integrate artworks into infrastructure improvements is by itself an achievement. While many downtown construction projects trigger the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/public-art\" rel=\"noopener noreferrer\" target=\"_blank\">2%-for-art requirement\u003c/a>, streetscape upgrades are exempt from that rule.\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>And yet the Minna Natoma Art Corridor Project has encompassed both functional and aesthetic considerations from its very start, evocative of the city departments involved: the SFAC, Planning Department, Public Works and Municipal Transportation Agency. “I loved that our colleagues [in other departments] are now sort of art advocates,” Manton says. “[They] are now recognizing the benefit and value of having artists’ involvement.”\u003c/p>\n\u003cfigure id=\"attachment_13904329\" class=\"wp-caption aligncenter\" style=\"max-width: 1831px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/CruzMinnaProposal_crop.jpg\" alt=\"Image of woven pattern on street.\" width=\"1831\" height=\"689\" class=\"size-full wp-image-13904329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop.jpg 1831w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-800x301.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-1020x384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-768x289.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CruzMinnaProposal_crop-1536x578.jpg 1536w\" sizes=\"(max-width: 1831px) 100vw, 1831px\">\u003cfigcaption class=\"wp-caption-text\">Part of Mel Vera Cruz’s proposal for asphalt art on Minna Street. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the actual fabrication of the asphalt art and street furniture will be carried out by general contractors and other professionals, the artists will be part of every step leading up to final installation, approving mock-ups, materials, colors and placement on the street. Each artist will receive $30,000–$35,000 for their designs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13815067","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Further phases of the art corridor may include stand-alone artistic interventions (like murals, window installations or light projections) that could be commissioned on both public and private property, depending on fundraising. Manton is excited for the current streetscape improvements to inspire future projects. “We hope that this created sort of a nexus in these two very long blocks,” she says. “I think there’s great potential there for other activations.”\u003c/p>\n\u003cp>Previous projects like \u003ca href=\"https://www.instagram.com/sitesunseen/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Sites Unseen\u003c/a> have used private funding to install public art in the same vicinity. Hank Willis Thomas’ neon piece \u003ci>\u003ca href=\"https://www.kqed.org/arts/13815067/in-new-public-art-hank-willis-thomas-lights-up-a-loving-message\" rel=\"noopener noreferrer\" target=\"_blank\">Love Over Rules\u003c/a>\u003c/i> lights up over Annie Alley, Barry McGee’s paintings adorn the Moscone Center Garage, and Leah Rosenberg’s colorful niche seating already lines a section of Natoma Street near the corner of New Montgomery. (Manton says as far as she knows, Rosenberg’s piece will remain in place when this project is complete.)\u003c/p>\n\u003cfigure id=\"attachment_13904330\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MikiMinnaProposal_crop.jpg\" alt=\"\" width=\"1200\" height=\"882\" class=\"size-full wp-image-13904330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-1020x750.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MikiMinnaProposal_crop-768x564.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Images from Masako Miki’s proposal for Minna street furniture. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But missing from those previous efforts to enliven public space was the added transformative power of—wait for it—infrastructure. The Minna Natoma Art Corridor aims to create a more pedestrian-friendly route through SoMa with widened sidewalks, new pedestrian “bulbouts,” raised crosswalks, and new mid-block traffic signals and crossings on 2nd Street and New Montgomery. Furthermore, the Yerba Buena Community Benefit District has volunteered to maintain the artworks after their installation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the Minna Natoma Art Corridor will definitely yield a more attractive—and safer—route between the Transbay Transit Center and the hub of cultural institutions surrounding Yerba Buena Gardens, Manton has even loftier goals for the site and its integrated artworks: “I think hopefully it might become a destination instead of just a pass-through area.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904311/minna-natoma-art-corridor-sfac-sfmoma-public-works","authors":["61"],"categories":["arts_1"],"tags":["arts_10278","arts_1879"],"featImg":"arts_13904331","label":"arts"},"arts_13897576":{"type":"posts","id":"arts_13897576","meta":{"index":"posts_1591205157","site":"arts","id":"13897576","score":null,"sort":[1621617782000]},"guestAuthors":[],"slug":"sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable","title":"SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’","publishDate":1621617782,"format":"audio","headTitle":"SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>UPDATE: May 21, 12.30pm: The San Francisco Mayor’s Office announced the Guaranteed Income Pilot for Artists just received a $3.46 million contribution from #StartSmall, Twitter founder and CEO Jack Dorsey’s philanthropic initiative to help extend the pilot by 12 months and support additional artists. According to a \u003ca href=\"https://ybca.org/guaranteed-income-pilot-expansion/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a> from YBCA, the new funding will also “go towards a new collaboration between YBCA and five high impact, historically underfunded San Francisco arts and culture organizations to select at least an additional 50 artists—10 from each organization—to also receive monthly payments of $1,000 a month for 18 months.”\u003c/em>\u003c/p>\n\u003cp>A total of 130 struggling San Francisco artists are expected to receive the first in a series of six $1,000 monthly payments starting Friday.\u003c/p>\n\u003cp>This cash relief program—called San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13894521/san-francisco-launches-guaranteed-income-pilot-program-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot for Artists\u003c/a>—is one of many Universal Basic Income (UBI)-type programs currently underway in cities across the country. In the Bay Area alone, the \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Abundant Birth Project\u003c/a> provides monthly income supplements for Black and Pacific Islander expectant mothers in San Francisco, and \u003ca href=\"https://www.kqed.org/news/11866002/following-stocktons-lead-guaranteed-income-programs-to-launch-in-oakland-and-marin-county\" target=\"_blank\" rel=\"noopener noreferrer\">guaranteed income programs\u003c/a> recently launched in Oakland and Marin County offer funds to low-income residents of color.\u003c/p>\n\u003cp>The funds will arrive as a check or a direct debit card distributed by the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA). San Francisco city officials hope the small, taxpayer-funded \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot\u003c/a> experiment reduces inequities for artists in San Francisco’s most vulnerable communities.\u003c/p>\n\u003cp>“This is a really important initiative, as it uplifts one of the mayor’s key priorities when it comes to intersecting arts and equity and making sure that creatives here in San Francisco have the opportunity to thrive and take care of themselves, given the impact of COVID-19,” said \u003ca href=\"https://www.racialequitysf.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Office of Racial Equity\u003c/a> Director Shakirah Simley at a public meeting held on April 7 to discuss the pilot.[aside postID='arts_13894521']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drawing on funds from the city’s \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a>, which is specifically earmarked to respond to community needs and reflect equity principles, the city of San Francisco aimed to reach BIPOC, AAPI, LGBTQ+ and disabled people, as well as immigrants, when it announced the Guaranteed Income Pilot.\u003c/p>\n\u003cp>Eligibility criteria stated applicants must be 18 or older, have an artistic practice “rooted in a historically marginalized community,” reside in one of 13 San Francisco zip codes “determined by the city of San Francisco’s data on areas hardest hit by the COVID-19 pandemic,” and not exceed a specified low-income threshold.\u003c/p>\n\u003cp>Roughly 2,500 people applied for the program. According to data obtained by KQED, 95% of the artists who will receive the cash relief identify with one or more of the target (BIPOC, AAPI, LGBTQ+, disabled, immigrant) groups.\u003c/p>\n\u003cp>But some arts advocates say the way in which the city and YBCA have rolled out the pilot has done more to highlight inequities than solve them.\u003c/p>\n\u003cp>“When you start off inequitably, your outcomes are going to be inequitable,” says T. Kebo Drew, managing director of the \u003ca href=\"https://qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Media Arts Project\u003c/a>. “That’s kind of how these things work.”\u003c/p>\n\u003ch2>Good Intentions, Challenging Process\u003c/h2>\n\u003cp>Drew says she understands the city was anxious to get money into the hands of needy artists, but that the rushed process was riddled with issues from the start.\u003c/p>\n\u003cp>Some of the criticisms relate to the rollout of the grant application itself, like the eligibility criteria and selection process that YBCA and the city used to pick the 130 grantees. Others extend back to the early planning stages and how the city went about coming up with the idea for the pilot, and deciding how the money to fund it would be managed. In both of these areas, some community arts advocates say they felt shut out of the process.\u003c/p>\n\u003cp>“A lot of these decisions get made, and it’s just like a fait accompli,” Drew says.\u003c/p>\n\u003cp>“The pilot just showed up,” says \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Islander Cultural Center\u003c/a> Executive Director Vinay Patel. “Then it was just funded really fast.”\u003c/p>\n\u003cp>Patel, Drew and other arts advocates who spoke to KQED say the city barreled ahead with its plan without initially involving input from the neighborhood cultural groups that directly serve the city’s most vulnerable artists.\u003c/p>\n\u003cp>When asked about community involvement in the early stages of the program, a \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> spokesperson said the general idea for putting cash in peoples’ pockets originally came out of \u003ca href=\"https://onesanfrancisco.org/sites/default/files/inline-files/ERTF%20Appendix%20D%20-%20CEL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">community focus groups\u003c/a> that were part of the city’s COVID-19 \u003ca href=\"https://onesanfrancisco.org/covid-19-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Taskforce\u003c/a> effort last summer. But KQED has not been able to obtain a list of focus group attendees, and no one interviewed for this story, including Economic Recovery Taskforce member and YBCA CEO Deborah Cullinan, seems to know who specifically came up the idea for the pilot, nor when the project itself was conceived and greenlit.\u003c/p>\n\u003cp>Regardless, once the city had come up with the program, it chose not to manage it. In a January Arts Commission \u003ca href=\"https://sfgov.org/arts//meeting/community-investments-committee-january-13-2021-minutes\" target=\"_blank\" rel=\"noopener noreferrer\">meeting\u003c/a>, commissioner Roberto Ordeñana talked about the importance of using a regranting structure and intermediary strategies in order to award funds as quickly as possible. He said these methods, rather than administering the grants independently, would lower the SFAC’s overhead.\u003c/p>\n\u003cp>“At the time there were a lot of things on the city’s plate,” says San Francisco Director of Cultural Affairs Ralph Remington, who came into his job after the pilot was conceived. “The thinking was, what’s the quickest way to be able to get these funds out the door to the artists that need it, and who could be a good community partner with facilitating that activity?”\u003c/p>\n\u003cp>But Remington also acknowledges the city’s ability to take on this type of programming. “\u003cb>\u003c/b>The city is certainly able to to do it directly,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018.\" width=\"320\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Go-Between\u003c/h2>\n\u003cp>The city put out a \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">request for proposals\u003c/a> last October, asking local nonprofits to bid for the job of administering the Guaranteed Income Pilot. Applicants included The Center for Cultural Innovation, Q Foundation, Southern Exposure, Theatre Bay Area and YBCA. Organizations had less than a month to get their applications in. The Asian Pacific Islander Cultural Center’s Patel says he and many other leaders of small neighborhood arts and culture organizations felt they couldn’t compete.\u003c/p>\n\u003cp>“For small organizations, you have to sort of take a look and say, ‘What do we think it’s worth? Do we have the capacity?,’” Patel says. “We just felt that this wasn’t even worth applying for.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000 grant\u003c/a> to manage the pilot went to YBCA. YBCA says it augmented the $877,000 in total city funds with $60,000 in additional direct expenses from its own coffers. It says $790,000 will go to the 130 pilot participants, with $60,000 going to community arts organizations, artist outreach workers and artist advocates, as well as to translation services for outreach efforts.\u003c/p>\n\u003cp>YBCA also won a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$250,000 grant\u003c/a> from the city to oversee another arts and culture-focused pandemic-relief program, the \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-arts-hub\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Hub\u003c/a>.\u003c/p>\n\u003cp>“We were highly encouraged to apply by a lot of different people,” says Cullinan, adding that although she was not involved in the early-stage planning of the Guaranteed Income Pilot, her organization has been discussing the UBI model for years as a possible way to help provide more financial security for artists.\u003c/p>\n\u003cp>The decision to award YBCA the grant didn’t thrill some community-based arts and culture advocates.\u003c/p>\n\u003cp>“Very large organizations that are not suited to take care of communities of color and poor communities should back off more,” says artist, curator and director of \u003ca href=\"https://www.emergingsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Arts Professionals San Francisco Bay Area\u003c/a> Rhiannon Evans MacFadyen. “They vie for this kind of money because they know they’re going to get it.”\u003c/p>\n\u003cp>MacFadyen says the city needs to shift its understanding of how communities of color and small organizations get things done.\u003c/p>\n\u003cp>“It needs to start trusting our communities to make decisions for ourselves and implement programs for ourselves,” MacFadyen says.\u003c/p>\n\u003ch2>Community Engagement Effort\u003c/h2>\n\u003cp>Cullinan says her organization did engage community leaders to help shape the program and act as ambassadors for it within their neighborhoods.\u003c/p>\n\u003cp>“We involved community members as soon as we were confirmed as the administrator of this program,” Cullinan says. “Community leaders are very important to our design and our process.”\u003c/p>\n\u003cp>But arts advocates like Patel say they didn’t appreciate being co-opted to help YBCA reach its target audience.\u003c/p>\n\u003cp>“They still have to go out and seek help on how to do this program from the very people that could have just done it themselves,” Patel says.\u003c/p>\n\u003cp>YBCA staffers listened to comments and responded to some questions from community members at a public meeting about the pilot presided over by the city’s Office of Racial Equity on April 7.\u003c/p>\n\u003cp>The organization, in partnership with the city, also made some tweaks to the pilot’s selection process and eligibility criteria based on community feedback, like allowing Chinatown residents to apply—a neighborhood that was originally left out of the eligibility criteria. YBCA also switched from rating the eligible applicants—of the 2,594 total applications, 1,409 met the eligibility criteria—to using a randomization tool to pick the final 130.\u003c/p>\n\u003cp>Even still, that lottery approach made some artists uncomfortable.\u003c/p>\n\u003cp>“If I was being judged on the merit of my contribution to the community, then I would certainly be near the top,” says Castro-based multimedia artist and handyman \u003ca href=\"https://windpoweredart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Burnside\u003c/a>, who applied for the pilot but was not selected. “But since it was random, and there were so many applicants, I didn’t think I was going to get it.”\u003c/p>\n\u003cp>“I don’t want to sound unappreciative,” says Tenderloin-based performer, teacher and graphic designer \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Gomez\u003c/a>, who did make the cut. “But I was a tiny bit let down that it was more lottery and not merit based.”\u003c/p>\n\u003ch2>Looking Ahead\u003c/h2>\n\u003cp>Gomez is relieved for the funding, though. The artist says the most they’ve made in a long while is $40,000 a year. In 2020, most of Gomez’s performing work disappeared. While some gigs are starting to trickle back, prospects for Gomez’s mainstay—teaching fashion classes at \u003ca href=\"https://www.ccsf.edu/academics/schools/business-fashion-hospitality/fashion-department/fashion-faculty\" target=\"_blank\" rel=\"noopener noreferrer\">City College\u003c/a>—are looking bleak, as the institution struggles with its own enormous financial challenges.\u003c/p>\n\u003cp>“So even with the YBCA grant, it’ll still be really hard,” Gomez says.\u003c/p>\n\u003cp>Unsurprisingly, Gomez says they plan to use their new monthly revenue stream to cover basics, like groceries and bills.\u003c/p>\n\u003cp>“Nothing special,” Gomez says. “I’m not going on vacation, no.”\u003c/p>\n\u003cp>YBCA’s Cullinan says she welcomes all feedback and is committed to finding a future for the Guaranteed Income Pilot. The organization is planning monthly surveys of willing awardees to track changes over time in economic security, well-being, health and artistic activity, as well as conducting personal interviews with them to further understand the program’s impact.\u003c/p>\n\u003cp>“I think it’s important to understand that this is a pilot,” Cullinan says. “And a pilot or an experiment is a way to learn.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Officials hope the UBI-style experiment helps artists from city’s most vulnerable communities. But some arts advocates say it has done more to highlight inequities than solve them.","status":"publish","parent":0,"modified":1705008335,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":1994},"headData":{"title":"SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’ | KQED","description":"Officials hope the UBI-style experiment helps artists from city’s most vulnerable communities. But some arts advocates say it has done more to highlight inequities than solve them.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’","datePublished":"2021-05-21T17:23:02.000Z","dateModified":"2024-01-11T21:25:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/774040d3-b492-4db8-8c9d-ad2f011e2988/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>UPDATE: May 21, 12.30pm: The San Francisco Mayor’s Office announced the Guaranteed Income Pilot for Artists just received a $3.46 million contribution from #StartSmall, Twitter founder and CEO Jack Dorsey’s philanthropic initiative to help extend the pilot by 12 months and support additional artists. According to a \u003ca href=\"https://ybca.org/guaranteed-income-pilot-expansion/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a> from YBCA, the new funding will also “go towards a new collaboration between YBCA and five high impact, historically underfunded San Francisco arts and culture organizations to select at least an additional 50 artists—10 from each organization—to also receive monthly payments of $1,000 a month for 18 months.”\u003c/em>\u003c/p>\n\u003cp>A total of 130 struggling San Francisco artists are expected to receive the first in a series of six $1,000 monthly payments starting Friday.\u003c/p>\n\u003cp>This cash relief program—called San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13894521/san-francisco-launches-guaranteed-income-pilot-program-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot for Artists\u003c/a>—is one of many Universal Basic Income (UBI)-type programs currently underway in cities across the country. In the Bay Area alone, the \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Abundant Birth Project\u003c/a> provides monthly income supplements for Black and Pacific Islander expectant mothers in San Francisco, and \u003ca href=\"https://www.kqed.org/news/11866002/following-stocktons-lead-guaranteed-income-programs-to-launch-in-oakland-and-marin-county\" target=\"_blank\" rel=\"noopener noreferrer\">guaranteed income programs\u003c/a> recently launched in Oakland and Marin County offer funds to low-income residents of color.\u003c/p>\n\u003cp>The funds will arrive as a check or a direct debit card distributed by the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA). San Francisco city officials hope the small, taxpayer-funded \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot\u003c/a> experiment reduces inequities for artists in San Francisco’s most vulnerable communities.\u003c/p>\n\u003cp>“This is a really important initiative, as it uplifts one of the mayor’s key priorities when it comes to intersecting arts and equity and making sure that creatives here in San Francisco have the opportunity to thrive and take care of themselves, given the impact of COVID-19,” said \u003ca href=\"https://www.racialequitysf.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Office of Racial Equity\u003c/a> Director Shakirah Simley at a public meeting held on April 7 to discuss the pilot.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894521","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drawing on funds from the city’s \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a>, which is specifically earmarked to respond to community needs and reflect equity principles, the city of San Francisco aimed to reach BIPOC, AAPI, LGBTQ+ and disabled people, as well as immigrants, when it announced the Guaranteed Income Pilot.\u003c/p>\n\u003cp>Eligibility criteria stated applicants must be 18 or older, have an artistic practice “rooted in a historically marginalized community,” reside in one of 13 San Francisco zip codes “determined by the city of San Francisco’s data on areas hardest hit by the COVID-19 pandemic,” and not exceed a specified low-income threshold.\u003c/p>\n\u003cp>Roughly 2,500 people applied for the program. According to data obtained by KQED, 95% of the artists who will receive the cash relief identify with one or more of the target (BIPOC, AAPI, LGBTQ+, disabled, immigrant) groups.\u003c/p>\n\u003cp>But some arts advocates say the way in which the city and YBCA have rolled out the pilot has done more to highlight inequities than solve them.\u003c/p>\n\u003cp>“When you start off inequitably, your outcomes are going to be inequitable,” says T. Kebo Drew, managing director of the \u003ca href=\"https://qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Media Arts Project\u003c/a>. “That’s kind of how these things work.”\u003c/p>\n\u003ch2>Good Intentions, Challenging Process\u003c/h2>\n\u003cp>Drew says she understands the city was anxious to get money into the hands of needy artists, but that the rushed process was riddled with issues from the start.\u003c/p>\n\u003cp>Some of the criticisms relate to the rollout of the grant application itself, like the eligibility criteria and selection process that YBCA and the city used to pick the 130 grantees. Others extend back to the early planning stages and how the city went about coming up with the idea for the pilot, and deciding how the money to fund it would be managed. In both of these areas, some community arts advocates say they felt shut out of the process.\u003c/p>\n\u003cp>“A lot of these decisions get made, and it’s just like a fait accompli,” Drew says.\u003c/p>\n\u003cp>“The pilot just showed up,” says \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Islander Cultural Center\u003c/a> Executive Director Vinay Patel. “Then it was just funded really fast.”\u003c/p>\n\u003cp>Patel, Drew and other arts advocates who spoke to KQED say the city barreled ahead with its plan without initially involving input from the neighborhood cultural groups that directly serve the city’s most vulnerable artists.\u003c/p>\n\u003cp>When asked about community involvement in the early stages of the program, a \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> spokesperson said the general idea for putting cash in peoples’ pockets originally came out of \u003ca href=\"https://onesanfrancisco.org/sites/default/files/inline-files/ERTF%20Appendix%20D%20-%20CEL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">community focus groups\u003c/a> that were part of the city’s COVID-19 \u003ca href=\"https://onesanfrancisco.org/covid-19-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Taskforce\u003c/a> effort last summer. But KQED has not been able to obtain a list of focus group attendees, and no one interviewed for this story, including Economic Recovery Taskforce member and YBCA CEO Deborah Cullinan, seems to know who specifically came up the idea for the pilot, nor when the project itself was conceived and greenlit.\u003c/p>\n\u003cp>Regardless, once the city had come up with the program, it chose not to manage it. In a January Arts Commission \u003ca href=\"https://sfgov.org/arts//meeting/community-investments-committee-january-13-2021-minutes\" target=\"_blank\" rel=\"noopener noreferrer\">meeting\u003c/a>, commissioner Roberto Ordeñana talked about the importance of using a regranting structure and intermediary strategies in order to award funds as quickly as possible. He said these methods, rather than administering the grants independently, would lower the SFAC’s overhead.\u003c/p>\n\u003cp>“At the time there were a lot of things on the city’s plate,” says San Francisco Director of Cultural Affairs Ralph Remington, who came into his job after the pilot was conceived. “The thinking was, what’s the quickest way to be able to get these funds out the door to the artists that need it, and who could be a good community partner with facilitating that activity?”\u003c/p>\n\u003cp>But Remington also acknowledges the city’s ability to take on this type of programming. “\u003cb>\u003c/b>The city is certainly able to to do it directly,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018.\" width=\"320\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Go-Between\u003c/h2>\n\u003cp>The city put out a \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">request for proposals\u003c/a> last October, asking local nonprofits to bid for the job of administering the Guaranteed Income Pilot. Applicants included The Center for Cultural Innovation, Q Foundation, Southern Exposure, Theatre Bay Area and YBCA. Organizations had less than a month to get their applications in. The Asian Pacific Islander Cultural Center’s Patel says he and many other leaders of small neighborhood arts and culture organizations felt they couldn’t compete.\u003c/p>\n\u003cp>“For small organizations, you have to sort of take a look and say, ‘What do we think it’s worth? Do we have the capacity?,’” Patel says. “We just felt that this wasn’t even worth applying for.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000 grant\u003c/a> to manage the pilot went to YBCA. YBCA says it augmented the $877,000 in total city funds with $60,000 in additional direct expenses from its own coffers. It says $790,000 will go to the 130 pilot participants, with $60,000 going to community arts organizations, artist outreach workers and artist advocates, as well as to translation services for outreach efforts.\u003c/p>\n\u003cp>YBCA also won a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$250,000 grant\u003c/a> from the city to oversee another arts and culture-focused pandemic-relief program, the \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-arts-hub\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Hub\u003c/a>.\u003c/p>\n\u003cp>“We were highly encouraged to apply by a lot of different people,” says Cullinan, adding that although she was not involved in the early-stage planning of the Guaranteed Income Pilot, her organization has been discussing the UBI model for years as a possible way to help provide more financial security for artists.\u003c/p>\n\u003cp>The decision to award YBCA the grant didn’t thrill some community-based arts and culture advocates.\u003c/p>\n\u003cp>“Very large organizations that are not suited to take care of communities of color and poor communities should back off more,” says artist, curator and director of \u003ca href=\"https://www.emergingsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Arts Professionals San Francisco Bay Area\u003c/a> Rhiannon Evans MacFadyen. “They vie for this kind of money because they know they’re going to get it.”\u003c/p>\n\u003cp>MacFadyen says the city needs to shift its understanding of how communities of color and small organizations get things done.\u003c/p>\n\u003cp>“It needs to start trusting our communities to make decisions for ourselves and implement programs for ourselves,” MacFadyen says.\u003c/p>\n\u003ch2>Community Engagement Effort\u003c/h2>\n\u003cp>Cullinan says her organization did engage community leaders to help shape the program and act as ambassadors for it within their neighborhoods.\u003c/p>\n\u003cp>“We involved community members as soon as we were confirmed as the administrator of this program,” Cullinan says. “Community leaders are very important to our design and our process.”\u003c/p>\n\u003cp>But arts advocates like Patel say they didn’t appreciate being co-opted to help YBCA reach its target audience.\u003c/p>\n\u003cp>“They still have to go out and seek help on how to do this program from the very people that could have just done it themselves,” Patel says.\u003c/p>\n\u003cp>YBCA staffers listened to comments and responded to some questions from community members at a public meeting about the pilot presided over by the city’s Office of Racial Equity on April 7.\u003c/p>\n\u003cp>The organization, in partnership with the city, also made some tweaks to the pilot’s selection process and eligibility criteria based on community feedback, like allowing Chinatown residents to apply—a neighborhood that was originally left out of the eligibility criteria. YBCA also switched from rating the eligible applicants—of the 2,594 total applications, 1,409 met the eligibility criteria—to using a randomization tool to pick the final 130.\u003c/p>\n\u003cp>Even still, that lottery approach made some artists uncomfortable.\u003c/p>\n\u003cp>“If I was being judged on the merit of my contribution to the community, then I would certainly be near the top,” says Castro-based multimedia artist and handyman \u003ca href=\"https://windpoweredart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Burnside\u003c/a>, who applied for the pilot but was not selected. “But since it was random, and there were so many applicants, I didn’t think I was going to get it.”\u003c/p>\n\u003cp>“I don’t want to sound unappreciative,” says Tenderloin-based performer, teacher and graphic designer \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Gomez\u003c/a>, who did make the cut. “But I was a tiny bit let down that it was more lottery and not merit based.”\u003c/p>\n\u003ch2>Looking Ahead\u003c/h2>\n\u003cp>Gomez is relieved for the funding, though. The artist says the most they’ve made in a long while is $40,000 a year. In 2020, most of Gomez’s performing work disappeared. While some gigs are starting to trickle back, prospects for Gomez’s mainstay—teaching fashion classes at \u003ca href=\"https://www.ccsf.edu/academics/schools/business-fashion-hospitality/fashion-department/fashion-faculty\" target=\"_blank\" rel=\"noopener noreferrer\">City College\u003c/a>—are looking bleak, as the institution struggles with its own enormous financial challenges.\u003c/p>\n\u003cp>“So even with the YBCA grant, it’ll still be really hard,” Gomez says.\u003c/p>\n\u003cp>Unsurprisingly, Gomez says they plan to use their new monthly revenue stream to cover basics, like groceries and bills.\u003c/p>\n\u003cp>“Nothing special,” Gomez says. “I’m not going on vacation, no.”\u003c/p>\n\u003cp>YBCA’s Cullinan says she welcomes all feedback and is committed to finding a future for the Guaranteed Income Pilot. The organization is planning monthly surveys of willing awardees to track changes over time in economic security, well-being, health and artistic activity, as well as conducting personal interviews with them to further understand the program’s impact.\u003c/p>\n\u003cp>“I think it’s important to understand that this is a pilot,” Cullinan says. “And a pilot or an experiment is a way to learn.”\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> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable","authors":["8608"],"categories":["arts_1","arts_69","arts_235","arts_967","arts_70"],"tags":["arts_1879","arts_1040"],"featImg":"arts_13897577","label":"arts"},"arts_13889089":{"type":"posts","id":"arts_13889089","meta":{"index":"posts_1591205157","site":"arts","id":"13889089","score":null,"sort":[1605560623000]},"guestAuthors":[],"slug":"sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally","title":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally","publishDate":1605560623,"format":"standard","headTitle":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>[aside postID='arts_13889000,arts_13884238,arts_13883431' label='SFAC in the news']In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m confident we’ll be looked at in terms of the work we do in this space,” she says, “particularly as it relates to paying honor to more women and women of color.”\u003c/p>\n\n","blocks":[],"excerpt":"Acting Director of Cultural Affairs Denise Bradley-Tyson says redressing the long-delayed project was a top priority. ","status":"publish","parent":0,"modified":1705019847,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1328},"headData":{"title":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally | KQED","description":"Acting Director of Cultural Affairs Denise Bradley-Tyson says redressing the long-delayed project was a top priority. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFAC Awards the Maya Angelou Monument to Lava Thomas, Finally","datePublished":"2020-11-16T21:03:43.000Z","dateModified":"2024-01-12T00:37:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889000,arts_13884238,arts_13883431","label":"SFAC in the news "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m confident we’ll be looked at in terms of the work we do in this space,” she says, “particularly as it relates to paying honor to more women and women of color.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_5206","arts_1680","arts_1879","arts_7221"],"featImg":"arts_13864656","label":"arts"},"arts_13889000":{"type":"posts","id":"arts_13889000","meta":{"index":"posts_1591205157","site":"arts","id":"13889000","score":null,"sort":[1604700897000]},"guestAuthors":[],"slug":"theres-a-new-director-of-cultural-affairs-in-san-francisco","title":"There's a New Director of Cultural Affairs in San Francisco","publishDate":1604700897,"format":"standard","headTitle":"There’s a New Director of Cultural Affairs in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n","blocks":[],"excerpt":"Ralph Remington will lead the San Francisco Arts Commission in overseeing public art, grants, commissions and exhibitions. ","status":"publish","parent":0,"modified":1705019877,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":416},"headData":{"title":"There's a New Director of Cultural Affairs in San Francisco | KQED","description":"Ralph Remington will lead the San Francisco Arts Commission in overseeing public art, grants, commissions and exhibitions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"There's a New Director of Cultural Affairs in San Francisco","datePublished":"2020-11-06T22:14:57.000Z","dateModified":"2024-01-12T00:37:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco","authors":["185"],"categories":["arts_1","arts_2303","arts_235","arts_70"],"tags":["arts_2767","arts_5206","arts_1300","arts_1879"],"featImg":"arts_13889003","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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