All Your Favorite Arts Organizations Are Turning 50 This Year
It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs
Five Ways Bay Area Artists and Arts Orgs Are Getting Out the Vote
Southern Exposure Opens Second Round of Emergency Relief Funds to SF Artists
At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space
Iranian-Canadian Artist Denied Entry to US for San Francisco Performance
The Best Art I Saw in 2019
Southern Exposure Announces Resignation of Executive Director
Surprises Even at the Bathroom Sink in 'Spirited Probabilities'
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That’s the question you might ask when a surprising number of Bay Area arts organizations celebrate their 50th anniversary this year: \u003ca href=\"https://creativegrowth.org/about\">Creative Growth\u003c/a>, \u003ca href=\"http://www.kala.org/about/history/\">Kala\u003c/a>, \u003ca href=\"https://sfcamerawork.org/purpose-our-story\">SF Camerawork\u003c/a>, \u003ca href=\"https://www.smallpresstraffic.org/currently-post/50-years\">Small Press Traffic\u003c/a>, \u003ca href=\"https://soex.org/about/history\">Southern Exposure\u003c/a> — the list goes on.\u003c/p>\n\u003cp>In anticipation of the anniversary, Syd Staiti, executive director of Small Press Traffic (SPT), began talking to people present at the beginning, when it was a Noe Valley bookstore and poetry hub. The short answer, Staiti relates, is that “word got around that it was really cheap to live in San Francisco.”\u003c/p>\n\u003cp>“People came here or already lived here, young people with lots of energy and ideas and ideals who wanted to start things,” Staiti says. Aided by cheap rent, people would “work like a day a week — literally — and then spend the rest of their time making things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13951029\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg\" alt=\"\" width=\"1080\" height=\"640\" class=\"size-full wp-image-13951029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-768x455.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">L: Southern Exposure’s original location at 499 Alabama St. in Project Artaud; R: A drawing of the Small Press Traffic storefront in 1980 by Ed Aulerich-Sugai. \u003ccite>(Courtesy of Southern Exposure; Courtesy of Denise Kastan Zetterbaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turning 50, but not feeling 50’\u003c/h2>\n\u003cp>Valerie Imus, Co-Director of Southern Exposure, says the moment was ripe for the formation of new organizations. “We’re on the heels of a lot of social and political movements of the ’60s,” she says, pointing to the San Francisco State strike, anti-war protests, the formation of the Black Panther Party, the trial of \u003ca href=\"https://en.wikipedia.org/wiki/Los_Siete_de_la_Raza\">Los Siete de la Raza\u003c/a> — all in the years just before 1974. “It’s just a lot of anti-institutional movements, a lot of self-determination and collaboration happening.”\u003c/p>\n\u003cp>[aside postID='arts_13940221']Like many of the now-50-year-old organizations, Southern Exposure was a very different entity in its early years. It began as the American Can Collective, a membership-based gallery within Project Artaud (a former American Can Company building). Renamed Southern Exposure after a cease and desist from the still-operating company (and a sassy temporary renaming to the “American Cant Collective”), the arts space didn’t incorporate as a nonprofit until the 1990s. \u003c/p>\n\u003cp>Though Southern Exposure is now a 501(c)3 with an operating budget over $800,000 and a staff of five, that playful and anti-establishment spirit persists. “The curatorial council is this evolving body of artists who are able to continue to bring in new folks and new things that are happening,” says Co-Director Margaret McCarthy. “That’s what’s exciting to me about turning 50, but not \u003ci>feeling\u003c/i> 50.”\u003c/p>\n\u003cfigure id=\"attachment_13951019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg\" alt=\"Two people sit on stack of drywall in a cavernous warehouse space looking at architectural plans\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13951019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1920x1423.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kala co-founder Archana Horsting discussing build-out plans in the organization’s future studios on Heinz Avenue in Berkeley. \u003ccite>(Courtesy of Kala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides their longevity, these organizations share a foundation in necessity. SF Camerawork was established to formalize and legitimize photography as \u003ca href=\"https://www.kqed.org/arts/13874133/sfmoma-thought-pieces-review\">an emerging art form\u003c/a>. Kala was founded by 11 international artists to share printmaking equipment that they couldn’t afford on their own. After state-run hospitals closed in the ’50s and ’60s, Creative Growth was born to support newly deinstitutionalized artists with disabilities.\u003c/p>\n\u003cp>As an example of how Creative Growth has changed and grown over the years, Director Emeritus Tom di Maria points to photographs of artists at the studio from its early days. “They have these little smocks on, and you would think it’s an art room in an institution, the state hospital or something,” he says. Over the years, the dynamic has shifted from directed art-making to artist-led initiatives. \u003c/p>\n\u003cp>Creative Growth’s artists, di Maria says, “want to have input into their curatorial practice. They want to know what viewers think about them. They want professional development.” Over its lifespan, the organization has evolved to meet those needs, engaging artists in aspects of leadership.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Balancing past, present and future\u003c/h2>\n\u003cp>[aside postID='arts_13913436,arts_13939278']For the five organizations in this story (others local orgs founded in 1974 include \u003ca href=\"https://www.breadandroses.org/\">Bread & Roses\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, \u003ca href=\"https://www.calawyersforthearts.org/\">California Lawyers for the Arts\u003c/a> and \u003ca href=\"https://www.proartscommons.org/\">ProArts\u003c/a>), taking stock of their 50-year history is a big part of the year ahead. \u003c/p>\n\u003cp>The first to celebrate will be SPT, with \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">a party\u003c/a> at Et al.’s Mission Street space on Jan. 27. The nonprofit just received a \u003ca href=\"https://www.smallpresstraffic.org/currently-post/announcing-mellon-foundation-preservation-grant\">$150,000 Mellon Grant\u003c/a> to catalog and digitize their archives over a two-year period. That includes not just books and magazines, Staiti points out, but donated audio recordings of poetry readings, all soon to be made fully accessible to the public. In the meantime, SPT has commissioned artist, poet and writer Gabrielle Civil to create \u003ca href=\"https://www.smallpresstraffic.org/currently-post/where-would-i-be-without-you\">a series of events\u003c/a> drawing from the collection.\u003c/p>\n\u003cp>Staiti is aiming for a fine balance between the present moment and Small Press Traffic’s legacy communities. (Like most of the nonprofits’ current leaders, Staiti wasn’t even alive in 1974.) It’s something SF Camerawork’s Executive Director Aay Preston-Myint is also onsidering while working toward 50th anniversary exhibition later this year. \u003c/p>\n\u003cp>“There’s a lot of different stories about what to include, who to include, right? Like why one person or one exhibit or the other stands out, versus why one might be hidden,” Preston-Myint says. “But at least for Camerawork, I’m hoping to use the material itself as a springboard.” \u003c/p>\n\u003cfigure id=\"attachment_13951018\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg\" alt=\"Cover of newsletter with two black-and-white photographs\" width=\"1500\" height=\"1854\" class=\"size-full wp-image-13951018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1020x1261.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1243x1536.jpg 1243w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A 1980 issue of SF Camerawork’s newsletter, featuring work by Steve Smith and Susan Felter. \u003ccite>(Courtesy of SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The birthday plans run the gamut: archival and group shows, \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">auctions-cum-anniversary parties\u003c/a>, conferences and museum exhibitions. (Those last two come from \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-and-creative-growth-art-center-announce-unprecedented-partnership-in-celebration-of-creative-growths-50th-anniversary/\">Creative Growth’s partnership with the San Francisco Museum of Modern Art\u003c/a>, which recently acquired over 100 works by artists associated with the nonprofit.)\u003c/p>\n\u003cp>While maintaining their existence (and relevance) over 50 years is a tremendous accomplishment, several of the organizations’ leaders are quick to point out this milestone exists within an arts ecosystem that’s constantly generating new and exciting endeavors. \u003c/p>\n\u003cp>“Artists tend to band together and get creative, out of a need or an absence,” Preston-Myint says. “They do this to create the thing that isn’t there for them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Small Press Traffic hosts ‘The Party’ on Saturday, Jan. 27, from 7–10 p.m. at Et al. (2831a Mission St., San Francisco). \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">More information and RSVP link here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Kala (1060 Heinz Ave., Berkeley) will host ‘Kala 50,’ an exhibition and art auction, March 21–April 27. \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Stay tuned for 50th anniversary programming from Creative Growth, SF Camerawork, Southern Exposure and others.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Creative Growth, Kala, SF Camerawork, Small Press Traffic and Southern Exposure were all founded in 1974.","status":"publish","parent":0,"modified":1706254070,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1141},"headData":{"title":"All Your Favorite Arts Organizations Are Turning 50 This Year | KQED","description":"Creative Growth, Kala, SF Camerawork, Small Press Traffic and Southern Exposure were all founded in 1974.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951003/1974-creative-growth-kala-sf-camerawork-small-press-traffic-southern-exposure","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What was in the water in 1974? That’s the question you might ask when a surprising number of Bay Area arts organizations celebrate their 50th anniversary this year: \u003ca href=\"https://creativegrowth.org/about\">Creative Growth\u003c/a>, \u003ca href=\"http://www.kala.org/about/history/\">Kala\u003c/a>, \u003ca href=\"https://sfcamerawork.org/purpose-our-story\">SF Camerawork\u003c/a>, \u003ca href=\"https://www.smallpresstraffic.org/currently-post/50-years\">Small Press Traffic\u003c/a>, \u003ca href=\"https://soex.org/about/history\">Southern Exposure\u003c/a> — the list goes on.\u003c/p>\n\u003cp>In anticipation of the anniversary, Syd Staiti, executive director of Small Press Traffic (SPT), began talking to people present at the beginning, when it was a Noe Valley bookstore and poetry hub. The short answer, Staiti relates, is that “word got around that it was really cheap to live in San Francisco.”\u003c/p>\n\u003cp>“People came here or already lived here, young people with lots of energy and ideas and ideals who wanted to start things,” Staiti says. Aided by cheap rent, people would “work like a day a week — literally — and then spend the rest of their time making things happen.”\u003c/p>\n\u003cfigure id=\"attachment_13951029\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg\" alt=\"\" width=\"1080\" height=\"640\" class=\"size-full wp-image-13951029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/SoEx_SPT_combo-768x455.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">L: Southern Exposure’s original location at 499 Alabama St. in Project Artaud; R: A drawing of the Small Press Traffic storefront in 1980 by Ed Aulerich-Sugai. \u003ccite>(Courtesy of Southern Exposure; Courtesy of Denise Kastan Zetterbaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turning 50, but not feeling 50’\u003c/h2>\n\u003cp>Valerie Imus, Co-Director of Southern Exposure, says the moment was ripe for the formation of new organizations. “We’re on the heels of a lot of social and political movements of the ’60s,” she says, pointing to the San Francisco State strike, anti-war protests, the formation of the Black Panther Party, the trial of \u003ca href=\"https://en.wikipedia.org/wiki/Los_Siete_de_la_Raza\">Los Siete de la Raza\u003c/a> — all in the years just before 1974. “It’s just a lot of anti-institutional movements, a lot of self-determination and collaboration happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940221","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Like many of the now-50-year-old organizations, Southern Exposure was a very different entity in its early years. It began as the American Can Collective, a membership-based gallery within Project Artaud (a former American Can Company building). Renamed Southern Exposure after a cease and desist from the still-operating company (and a sassy temporary renaming to the “American Cant Collective”), the arts space didn’t incorporate as a nonprofit until the 1990s. \u003c/p>\n\u003cp>Though Southern Exposure is now a 501(c)3 with an operating budget over $800,000 and a staff of five, that playful and anti-establishment spirit persists. “The curatorial council is this evolving body of artists who are able to continue to bring in new folks and new things that are happening,” says Co-Director Margaret McCarthy. “That’s what’s exciting to me about turning 50, but not \u003ci>feeling\u003c/i> 50.”\u003c/p>\n\u003cfigure id=\"attachment_13951019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg\" alt=\"Two people sit on stack of drywall in a cavernous warehouse space looking at architectural plans\" width=\"2000\" height=\"1482\" class=\"size-full wp-image-13951019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/kala003_COVER-1920x1423.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kala co-founder Archana Horsting discussing build-out plans in the organization’s future studios on Heinz Avenue in Berkeley. \u003ccite>(Courtesy of Kala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides their longevity, these organizations share a foundation in necessity. SF Camerawork was established to formalize and legitimize photography as \u003ca href=\"https://www.kqed.org/arts/13874133/sfmoma-thought-pieces-review\">an emerging art form\u003c/a>. Kala was founded by 11 international artists to share printmaking equipment that they couldn’t afford on their own. After state-run hospitals closed in the ’50s and ’60s, Creative Growth was born to support newly deinstitutionalized artists with disabilities.\u003c/p>\n\u003cp>As an example of how Creative Growth has changed and grown over the years, Director Emeritus Tom di Maria points to photographs of artists at the studio from its early days. “They have these little smocks on, and you would think it’s an art room in an institution, the state hospital or something,” he says. Over the years, the dynamic has shifted from directed art-making to artist-led initiatives. \u003c/p>\n\u003cp>Creative Growth’s artists, di Maria says, “want to have input into their curatorial practice. They want to know what viewers think about them. They want professional development.” Over its lifespan, the organization has evolved to meet those needs, engaging artists in aspects of leadership.\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\u003ch2>Balancing past, present and future\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913436,arts_13939278","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For the five organizations in this story (others local orgs founded in 1974 include \u003ca href=\"https://www.breadandroses.org/\">Bread & Roses\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, \u003ca href=\"https://www.calawyersforthearts.org/\">California Lawyers for the Arts\u003c/a> and \u003ca href=\"https://www.proartscommons.org/\">ProArts\u003c/a>), taking stock of their 50-year history is a big part of the year ahead. \u003c/p>\n\u003cp>The first to celebrate will be SPT, with \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">a party\u003c/a> at Et al.’s Mission Street space on Jan. 27. The nonprofit just received a \u003ca href=\"https://www.smallpresstraffic.org/currently-post/announcing-mellon-foundation-preservation-grant\">$150,000 Mellon Grant\u003c/a> to catalog and digitize their archives over a two-year period. That includes not just books and magazines, Staiti points out, but donated audio recordings of poetry readings, all soon to be made fully accessible to the public. In the meantime, SPT has commissioned artist, poet and writer Gabrielle Civil to create \u003ca href=\"https://www.smallpresstraffic.org/currently-post/where-would-i-be-without-you\">a series of events\u003c/a> drawing from the collection.\u003c/p>\n\u003cp>Staiti is aiming for a fine balance between the present moment and Small Press Traffic’s legacy communities. (Like most of the nonprofits’ current leaders, Staiti wasn’t even alive in 1974.) It’s something SF Camerawork’s Executive Director Aay Preston-Myint is also onsidering while working toward 50th anniversary exhibition later this year. \u003c/p>\n\u003cp>“There’s a lot of different stories about what to include, who to include, right? Like why one person or one exhibit or the other stands out, versus why one might be hidden,” Preston-Myint says. “But at least for Camerawork, I’m hoping to use the material itself as a springboard.” \u003c/p>\n\u003cfigure id=\"attachment_13951018\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg\" alt=\"Cover of newsletter with two black-and-white photographs\" width=\"1500\" height=\"1854\" class=\"size-full wp-image-13951018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1020x1261.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/CoverPage-1243x1536.jpg 1243w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A 1980 issue of SF Camerawork’s newsletter, featuring work by Steve Smith and Susan Felter. \u003ccite>(Courtesy of SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The birthday plans run the gamut: archival and group shows, \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">auctions-cum-anniversary parties\u003c/a>, conferences and museum exhibitions. (Those last two come from \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-and-creative-growth-art-center-announce-unprecedented-partnership-in-celebration-of-creative-growths-50th-anniversary/\">Creative Growth’s partnership with the San Francisco Museum of Modern Art\u003c/a>, which recently acquired over 100 works by artists associated with the nonprofit.)\u003c/p>\n\u003cp>While maintaining their existence (and relevance) over 50 years is a tremendous accomplishment, several of the organizations’ leaders are quick to point out this milestone exists within an arts ecosystem that’s constantly generating new and exciting endeavors. \u003c/p>\n\u003cp>“Artists tend to band together and get creative, out of a need or an absence,” Preston-Myint says. “They do this to create the thing that isn’t there for them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Small Press Traffic hosts ‘The Party’ on Saturday, Jan. 27, from 7–10 p.m. at Et al. (2831a Mission St., San Francisco). \u003ca href=\"https://www.smallpresstraffic.org/event/the-party\">More information and RSVP link here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Kala (1060 Heinz Ave., Berkeley) will host ‘Kala 50,’ an exhibition and art auction, March 21–April 27. \u003ca href=\"http://www.kala.org/gallery/spring-gala-and-auction/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Stay tuned for 50th anniversary programming from Creative Growth, SF Camerawork, Southern Exposure and others.\u003c/i>\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/13951003/1974-creative-growth-kala-sf-camerawork-small-press-traffic-southern-exposure","authors":["61"],"categories":["arts_1","arts_7862","arts_70"],"tags":["arts_10278","arts_2887"],"featImg":"arts_13951037","label":"arts"},"arts_13890207":{"type":"posts","id":"arts_13890207","meta":{"index":"posts_1591205157","site":"arts","id":"13890207","score":null,"sort":[1607986842000]},"guestAuthors":[],"slug":"it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","title":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs","publishDate":1607986842,"format":"standard","headTitle":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs | KQED","labelTerm":{},"content":"\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13890093,arts_13890048,arts_13890054' label='What a year'] “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"(max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>[aside postID='arts_13876893']In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Laura Poppiti, Center for Cultural Innovation']‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’[/pullquote]Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>[pullquote size='medium' align='right']The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.[/pullquote]“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='John Elliott, San Francisco musician']‘There needs to be some restoration of the safety net with no questions asked.’[/pullquote]YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"What the pandemic has made clear is the total lack of a safety net for anyone without a full-time job and benefits.","status":"publish","parent":0,"modified":1705019737,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":2841},"headData":{"title":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs | KQED","description":"What the pandemic has made clear is the total lack of a safety net for anyone without a full-time job and benefits.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890207/it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890093,arts_13890048,arts_13890054","label":"What a year "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"(max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\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\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876893","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’","name":"pullquote","attributes":{"named":{"size":"medium","citation":"Laura Poppiti, Center for Cultural Innovation","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘There needs to be some restoration of the safety net with no questions asked.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"John Elliott, San Francisco musician","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\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/13890207/it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","authors":["61"],"categories":["arts_1"],"tags":["arts_12958","arts_10342","arts_10278","arts_2887","arts_1072","arts_10648","arts_1955"],"featImg":"arts_13890402","label":"source_arts_13890207"},"arts_13888556":{"type":"posts","id":"arts_13888556","meta":{"index":"posts_1591205157","site":"arts","id":"13888556","score":null,"sort":[1604077093000]},"guestAuthors":[],"slug":"five-ways-bay-area-artists-and-arts-orgs-are-getting-out-the-vote","title":"Five Ways Bay Area Artists and Arts Orgs Are Getting Out the Vote","publishDate":1604077093,"format":"standard","headTitle":"Five Ways Bay Area Artists and Arts Orgs Are Getting Out the Vote | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The 2020 election has already seen record-setting participation in fundraising, volunteering and early voting. Civic participation has been growing since 2018 and artists, often among the first to speak out on crucial political issues, have been an integral part of this effort to increase turnout in the lead-up to Nov. 3. \u003c/p>\n\u003cp>So it’s no surprise that Bay Area artists and organizations have initiated local and national projects to support voter engagement and fight voter suppression. These campaigns were built with creativity, passion and long-term planning, and their hard work shows. This is a list of just five such undertakings that speak to the role the arts can and must have in an engaged society.[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,KQED 2020 California Voter Guide: All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>And a reminder, if you have not already done so, go vote!\u003c/p>\n\u003ch2>A Livestreamed Celebration of Feminist Voting\u003c/h2>\n\u003cp>On Sunday, Nov. 1, the Berkeley Art Museum and Pacific Film Archive presents artist Michele Pred’s project \u003ca href=\"https://bampfa.org/event/livestream-vote-feminist-parade\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>Vote Feminist Parade\u003c/i>\u003c/a>, a live Zoom event. Underscoring the importance of voting, this project uses the form of a parade to put artists’ voices on the frontlines to fight for the change they want to see in the world and their communities. For the organizers, the celebratory \u003ci>Vote Feminist Parade\u003c/i> is about shifting political art out of galleries and into the streets.\u003c/p>\n\u003cp>While the parade will be a vicarious one (the event combines previously recorded performances in New York and Oakland), viewers will get to experience live music, guest speakers and “a guided radical love meditation.” Pred and her co-hosts, Carmen Rios and Autumn Breon, will provide live commentary throughout. Participating artists include Jaishri Abichandani, Ebony Brown, Christen Clifford, Aya De Leon, the Drizzling Diamond Dancers, Michelle Hartney, Amy Khosbin, Ann Lewis, Shireen Liane, Yvette Molina, Alex Posen, Favianna Rodriguez, Bud Snow, the Strut N Strive Dance Team, Lexa Walsh, Lena Wolff and Legacy Fatale Urban Punk Amazons. \u003ca href=\"https://bampfa.org/event/livestream-vote-feminist-parade\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003ch2>Artists Assume Presidential Authority\u003c/h2>\n\u003cfigure id=\"attachment_13888634\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM.png\" alt=\"\" width=\"1870\" height=\"1200\" class=\"size-full wp-image-13888634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-1536x986.png 1536w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">An Instagram post from ‘Artists in Presidents’ featuring local artist Brontez Purnell’s “presidential portrait,” photo by @robbiesweeny and digital collage by Brian Hockaday. \u003ccite>(Courtesy Artists in Presidents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Franklin Delano Roosevelt’s Depression-era fireside chats were meant to assure the American public during times of despair and uncertainty. Experiencing our own moment of uncertainty along with the absence of national leadership, Chilean American visual artist \u003ca href=\"http://www.constancehockaday.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Constance Hockaday\u003c/a> created \u003ci>Artists in Presidents\u003c/i>, which brings together 50 artists to assume the power of a presidential candidate to speak out about the state of the nation. \u003c/p>\n\u003cp>Through public addresses, artists (including Bay Area figures Xandra Ibarra, Sofía Córdova, Brontez Purnell, and Keith Hennessy) do not aim to recreate FDR’s chats, but offer leadership and radical visions of our country’s future. Coinciding with the final two months of the 2020 presidential campaigns, Hockaday’s project addresses today’s America, similarly crippled by the social and economic fallout of a global pandemic. Produced in partnership with UCLA’s Center for the Art of Performance and StanfordLive, the \u003cem>Fireside Chats for 2020\u003c/em> have been distributed for free over radio, podcast and social media and will continue through Friday, Nov. 13. \u003ca href=\"https://artistsinpresidents.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>An Official and Official Unofficial Voting Station\u003c/h2>\n\u003cfigure id=\"attachment_13888570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/SoEX_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13888570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Related Tactics’ ‘Never Again is Now’ installation outside Southern Exposure. \u003ccite>(Courtesy Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 3 and for the first time, San Francisco’s nonprofit arts space Southern Exposure will be an official polling place while showcasing two projects aimed at civic discourse and justice. Aram Han Sifuentes’ \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/official-unofficial-voting-station\" rel=\"noopener noreferrer\" target=\"_blank\">The Official Unofficial Voting Station: Voting for All Who Legally Can’t\u003c/a>\u003c/i>, allows the disenfranchised to cast symbolic votes. Born out of the artist’s own inability to vote in the 2016 election, this project is housed at multiple venues throughout the country, allowing Han Sifuentes to collect a wide sampling of what people in the U.S. (not just eligible voters) actually care about. \u003c/p>\n\u003cp>Those waiting to vote in person can also view a new installation by the collective, Related Tactics, \u003cem>\u003ca href=\"https://soex.org/projects-exhibitions/never-again-now\" rel=\"noopener noreferrer\" target=\"_blank\">Never Again is Now\u003c/a>\u003c/em>, which references histories of protest and its visual culture (signs, slogans and marches), connecting previous struggles to the ongoing uprising for racial justice.\u003c/p>\n\u003ch2>Dine for Democracy\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Dine-300dpi_1200.jpg\" alt=\"\" width=\"1200\" height=\"671\" class=\"aligncenter size-full wp-image-13888630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-768x429.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003ca href=\"https://dinefordemocracy.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Dine for Democracy\u003c/a>, founded by Lena Wolff, Mariah Castle and Hadley Dynak, three East Bay-based artists, educators and activists, galvanizes a community of chefs, bakers, restaurants, food lovers and concerned citizen to come together across the country and raise funds for voter engagement and voting rights efforts. Initiated in the Bay Area in 2018, Dine for Democracy aimed to address concerns about extensive voter suppression efforts targeting people of color. In 2020, this campaign expanded to more than 100 restaurants and bakeries in 22 cities around the country and raised over $154,000 between May and October for five grassroots voting organizations: the \u003ca href=\"https://allianceforyouthaction.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Alliance for Youth Action\u003c/a>, \u003ca href=\"https://blackvotersmatterfund.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Voters Matter Fund\u003c/a>, \u003ca href=\"https://www.mifamiliavota.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Mi Familia Vota\u003c/a>, \u003ca href=\"https://www.mtnativevote.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Montana Native Vote\u003c/a> and \u003ca href=\"https://wokevote.us/\" rel=\"noopener noreferrer\" target=\"_blank\">Woke Vote\u003c/a>.\u003c/p>\n\u003cp>While their main campaign has ended, starting Nov. 1, Dine for Democracy will direct donations to \u003ca href=\"https://movement.vote/funds/defend/\" rel=\"noopener noreferrer\" target=\"_blank\">Movement Voter Project’s Defend the Election Fund\u003c/a>, providing rapid response grants to voting groups seeking to protect the integrity of the election. \u003ca href=\"https://dinefordemocracy.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003ch2>A Bandana to Empower Latinx Voting\u003c/h2>\n\u003cfigure id=\"attachment_13888562\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana.png\" alt=\"\" width=\"1300\" height=\"1301\" class=\"size-full wp-image-13888562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-800x801.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-1020x1021.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-768x769.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Hughen/Starkweather, ‘A Votar’ bandana, 22 x 22 inches, printed on cotton. \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2020, there are a record number of 32 million eligible Latinx voters in the United States, the majority of whom live in California, Texas, Florida, New York and Arizona. Struck by these numbers and the danger voter suppression poses to this population, artist collaborative Hughen/Starkweather (Amanda Hughen and Jennifer Starkweather) created a limited-edition bandana, the profits of which benefit two national civic engagement organizations, \u003ca href=\"https://votolatino.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Voto Latino\u003c/a> and \u003ca href=\"https://www.mifamiliavota.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Mi Familia Vota\u003c/a>. Both organizations work to engage and empower Latinx and immigrant communities through education, voter registration and voter participation. \u003ca href=\"https://www.hughenstarkweather.com/shop/vote-bandana\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Local artists and organizations demonstrate the impact creative efforts can have on voter turnout.","status":"publish","parent":0,"modified":1705019913,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1041},"headData":{"title":"Five Ways Bay Area Artists and Arts Orgs Are Getting Out the Vote | KQED","description":"Local artists and organizations demonstrate the impact creative efforts can have on voter turnout.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Marc Mayer","templateType":"standard","featuredImageType":"standard","path":"/arts/13888556/five-ways-bay-area-artists-and-arts-orgs-are-getting-out-the-vote","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2020 election has already seen record-setting participation in fundraising, volunteering and early voting. Civic participation has been growing since 2018 and artists, often among the first to speak out on crucial political issues, have been an integral part of this effort to increase turnout in the lead-up to Nov. 3. \u003c/p>\n\u003cp>So it’s no surprise that Bay Area artists and organizations have initiated local and national projects to support voter engagement and fight voter suppression. These campaigns were built with creativity, passion and long-term planning, and their hard work shows. This is a list of just five such undertakings that speak to the role the arts can and must have in an engaged society.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"From KQED's California Voter Guide ","link1":"https://www.kqed.org/voterguide/,KQED 2020 California Voter Guide: All the State Props, All the Bay Area Measures","hero":"https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And a reminder, if you have not already done so, go vote!\u003c/p>\n\u003ch2>A Livestreamed Celebration of Feminist Voting\u003c/h2>\n\u003cp>On Sunday, Nov. 1, the Berkeley Art Museum and Pacific Film Archive presents artist Michele Pred’s project \u003ca href=\"https://bampfa.org/event/livestream-vote-feminist-parade\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>Vote Feminist Parade\u003c/i>\u003c/a>, a live Zoom event. Underscoring the importance of voting, this project uses the form of a parade to put artists’ voices on the frontlines to fight for the change they want to see in the world and their communities. For the organizers, the celebratory \u003ci>Vote Feminist Parade\u003c/i> is about shifting political art out of galleries and into the streets.\u003c/p>\n\u003cp>While the parade will be a vicarious one (the event combines previously recorded performances in New York and Oakland), viewers will get to experience live music, guest speakers and “a guided radical love meditation.” Pred and her co-hosts, Carmen Rios and Autumn Breon, will provide live commentary throughout. Participating artists include Jaishri Abichandani, Ebony Brown, Christen Clifford, Aya De Leon, the Drizzling Diamond Dancers, Michelle Hartney, Amy Khosbin, Ann Lewis, Shireen Liane, Yvette Molina, Alex Posen, Favianna Rodriguez, Bud Snow, the Strut N Strive Dance Team, Lexa Walsh, Lena Wolff and Legacy Fatale Urban Punk Amazons. \u003ca href=\"https://bampfa.org/event/livestream-vote-feminist-parade\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003ch2>Artists Assume Presidential Authority\u003c/h2>\n\u003cfigure id=\"attachment_13888634\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM.png\" alt=\"\" width=\"1870\" height=\"1200\" class=\"size-full wp-image-13888634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-30-at-10.23.01-AM-1536x986.png 1536w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">An Instagram post from ‘Artists in Presidents’ featuring local artist Brontez Purnell’s “presidential portrait,” photo by @robbiesweeny and digital collage by Brian Hockaday. \u003ccite>(Courtesy Artists in Presidents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Franklin Delano Roosevelt’s Depression-era fireside chats were meant to assure the American public during times of despair and uncertainty. Experiencing our own moment of uncertainty along with the absence of national leadership, Chilean American visual artist \u003ca href=\"http://www.constancehockaday.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Constance Hockaday\u003c/a> created \u003ci>Artists in Presidents\u003c/i>, which brings together 50 artists to assume the power of a presidential candidate to speak out about the state of the nation. \u003c/p>\n\u003cp>Through public addresses, artists (including Bay Area figures Xandra Ibarra, Sofía Córdova, Brontez Purnell, and Keith Hennessy) do not aim to recreate FDR’s chats, but offer leadership and radical visions of our country’s future. Coinciding with the final two months of the 2020 presidential campaigns, Hockaday’s project addresses today’s America, similarly crippled by the social and economic fallout of a global pandemic. Produced in partnership with UCLA’s Center for the Art of Performance and StanfordLive, the \u003cem>Fireside Chats for 2020\u003c/em> have been distributed for free over radio, podcast and social media and will continue through Friday, Nov. 13. \u003ca href=\"https://artistsinpresidents.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>An Official and Official Unofficial Voting Station\u003c/h2>\n\u003cfigure id=\"attachment_13888570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/SoEX_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13888570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/SoEX_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Related Tactics’ ‘Never Again is Now’ installation outside Southern Exposure. \u003ccite>(Courtesy Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Nov. 3 and for the first time, San Francisco’s nonprofit arts space Southern Exposure will be an official polling place while showcasing two projects aimed at civic discourse and justice. Aram Han Sifuentes’ \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/official-unofficial-voting-station\" rel=\"noopener noreferrer\" target=\"_blank\">The Official Unofficial Voting Station: Voting for All Who Legally Can’t\u003c/a>\u003c/i>, allows the disenfranchised to cast symbolic votes. Born out of the artist’s own inability to vote in the 2016 election, this project is housed at multiple venues throughout the country, allowing Han Sifuentes to collect a wide sampling of what people in the U.S. (not just eligible voters) actually care about. \u003c/p>\n\u003cp>Those waiting to vote in person can also view a new installation by the collective, Related Tactics, \u003cem>\u003ca href=\"https://soex.org/projects-exhibitions/never-again-now\" rel=\"noopener noreferrer\" target=\"_blank\">Never Again is Now\u003c/a>\u003c/em>, which references histories of protest and its visual culture (signs, slogans and marches), connecting previous struggles to the ongoing uprising for racial justice.\u003c/p>\n\u003ch2>Dine for Democracy\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Dine-300dpi_1200.jpg\" alt=\"\" width=\"1200\" height=\"671\" class=\"aligncenter size-full wp-image-13888630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Dine-300dpi_1200-768x429.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003ca href=\"https://dinefordemocracy.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Dine for Democracy\u003c/a>, founded by Lena Wolff, Mariah Castle and Hadley Dynak, three East Bay-based artists, educators and activists, galvanizes a community of chefs, bakers, restaurants, food lovers and concerned citizen to come together across the country and raise funds for voter engagement and voting rights efforts. Initiated in the Bay Area in 2018, Dine for Democracy aimed to address concerns about extensive voter suppression efforts targeting people of color. In 2020, this campaign expanded to more than 100 restaurants and bakeries in 22 cities around the country and raised over $154,000 between May and October for five grassroots voting organizations: the \u003ca href=\"https://allianceforyouthaction.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Alliance for Youth Action\u003c/a>, \u003ca href=\"https://blackvotersmatterfund.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Voters Matter Fund\u003c/a>, \u003ca href=\"https://www.mifamiliavota.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Mi Familia Vota\u003c/a>, \u003ca href=\"https://www.mtnativevote.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Montana Native Vote\u003c/a> and \u003ca href=\"https://wokevote.us/\" rel=\"noopener noreferrer\" target=\"_blank\">Woke Vote\u003c/a>.\u003c/p>\n\u003cp>While their main campaign has ended, starting Nov. 1, Dine for Democracy will direct donations to \u003ca href=\"https://movement.vote/funds/defend/\" rel=\"noopener noreferrer\" target=\"_blank\">Movement Voter Project’s Defend the Election Fund\u003c/a>, providing rapid response grants to voting groups seeking to protect the integrity of the election. \u003ca href=\"https://dinefordemocracy.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003ch2>A Bandana to Empower Latinx Voting\u003c/h2>\n\u003cfigure id=\"attachment_13888562\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana.png\" alt=\"\" width=\"1300\" height=\"1301\" class=\"size-full wp-image-13888562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-800x801.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-1020x1021.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HughenStarkweatherAVotarBandana-768x769.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Hughen/Starkweather, ‘A Votar’ bandana, 22 x 22 inches, printed on cotton. \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2020, there are a record number of 32 million eligible Latinx voters in the United States, the majority of whom live in California, Texas, Florida, New York and Arizona. Struck by these numbers and the danger voter suppression poses to this population, artist collaborative Hughen/Starkweather (Amanda Hughen and Jennifer Starkweather) created a limited-edition bandana, the profits of which benefit two national civic engagement organizations, \u003ca href=\"https://votolatino.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Voto Latino\u003c/a> and \u003ca href=\"https://www.mifamiliavota.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Mi Familia Vota\u003c/a>. Both organizations work to engage and empower Latinx and immigrant communities through education, voter registration and voter participation. \u003ca href=\"https://www.hughenstarkweather.com/shop/vote-bandana\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13888556/five-ways-bay-area-artists-and-arts-orgs-are-getting-out-the-vote","authors":["byline_arts_13888556"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_2227","arts_10278","arts_2887","arts_585"],"featImg":"arts_13888622","label":"arts_140"},"arts_13888420":{"type":"posts","id":"arts_13888420","meta":{"index":"posts_1591205157","site":"arts","id":"13888420","score":null,"sort":[1603837090000]},"guestAuthors":[],"slug":"southern-exposure-opens-second-round-of-emergency-relief-funds-to-sf-artists","title":"Southern Exposure Opens Second Round of Emergency Relief Funds to SF Artists","publishDate":1603837090,"format":"standard","headTitle":"Southern Exposure Opens Second Round of Emergency Relief Funds to SF Artists | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>While the San Francisco visual arts nonprofit Southern Exposure plans to remain closed to the public for the remainder of 2020 (with the exception of Nov. 3, when it will be a polling place!), that doesn’t mean it’s not still supporting the Bay Area arts community. Earlier this year, in partnership with the Andy Warhol Foundation for the Visual Arts, Southern Exposure reallocated its annual Alternative Exposure grant into emergency relief for Bay Area artists, distributing 60 grants of $1,000 each to visual and multidisciplinary artists.\u003c/p>\n\u003cp>[aside postID='arts_13876893']While the Bay Area is on the path to reopening, artists are still struggling within the pandemic—exhibitions and performances have been canceled and postponed, and many have lost the side gigs and day jobs that sustained their creative practices. \u003c/p>\n\u003cp>With support from San Francisco Grants for the Arts, Southern Exposure is now accepting applications for a second round of emergency relief funding. They will bestow 19 grants of $1,000 each to San Francisco-based artists (this includes those with a San Francisco studio, fiscal sponsorship from a San Francisco organization, or a university student at a San Francisco institution).\u003c/p>\n\u003cp>Priority will be given to artists who are Black, Indigenous, POC, elder, LGBTQ+, disabled, immunocompromised and immigrants. The funds may be used to cover any needed expenses related to lost income due to COVID-19. Applications are due by Nov. 9, \u003ca href=\"https://soex.org/alternative-exposure/how-apply-0\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The arts nonprofit will award 19 grants of $1,000 to visual and multidisciplinary artists who have lost income due to COVID-19.","status":"publish","parent":0,"modified":1705019928,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":241},"headData":{"title":"Southern Exposure Opens Second Round of Emergency Relief Funds to SF Artists | KQED","description":"The arts nonprofit will award 19 grants of $1,000 to visual and multidisciplinary artists who have lost income due to COVID-19.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13888420/southern-exposure-opens-second-round-of-emergency-relief-funds-to-sf-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco visual arts nonprofit Southern Exposure plans to remain closed to the public for the remainder of 2020 (with the exception of Nov. 3, when it will be a polling place!), that doesn’t mean it’s not still supporting the Bay Area arts community. Earlier this year, in partnership with the Andy Warhol Foundation for the Visual Arts, Southern Exposure reallocated its annual Alternative Exposure grant into emergency relief for Bay Area artists, distributing 60 grants of $1,000 each to visual and multidisciplinary artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876893","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While the Bay Area is on the path to reopening, artists are still struggling within the pandemic—exhibitions and performances have been canceled and postponed, and many have lost the side gigs and day jobs that sustained their creative practices. \u003c/p>\n\u003cp>With support from San Francisco Grants for the Arts, Southern Exposure is now accepting applications for a second round of emergency relief funding. They will bestow 19 grants of $1,000 each to San Francisco-based artists (this includes those with a San Francisco studio, fiscal sponsorship from a San Francisco organization, or a university student at a San Francisco institution).\u003c/p>\n\u003cp>Priority will be given to artists who are Black, Indigenous, POC, elder, LGBTQ+, disabled, immunocompromised and immigrants. The funds may be used to cover any needed expenses related to lost income due to COVID-19. Applications are due by Nov. 9, \u003ca href=\"https://soex.org/alternative-exposure/how-apply-0\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13888420/southern-exposure-opens-second-round-of-emergency-relief-funds-to-sf-artists","authors":["61"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10126","arts_3590","arts_2887","arts_585"],"featImg":"arts_13888441","label":"arts_140"},"arts_13874931":{"type":"posts","id":"arts_13874931","meta":{"index":"posts_1591205157","site":"arts","id":"13874931","score":null,"sort":[1581635223000]},"guestAuthors":[],"slug":"at-southern-exposure-the-ghosts-of-myths-and-memories-live-on-in-virtual-space","title":"At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space","publishDate":1581635223,"format":"standard","headTitle":"At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first sound you hear when you enter Southern Exposure’s \u003cem>Where do you want ghosts to reside?\u003c/em> is slow but steady dripping, a watery metronome calibrating the audience for the reality that awaits. Curated by multimedia artists \u003ca href=\"http://www.azinseraj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Azin Seraj\u003c/a> and \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a>, the show and corresponding performance thrust viewers into myths and memories as interpreted by six artists from South Asian, Southwest Asian and North African diasporas. The common thread of the show is the Muslim world—though it’s a loose thread, mapped virtually across Egypt, Pakistan, India and Iran, all countries of origin or significance to the participating artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Inside the dark and cavernous gallery, \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Morehshin Allahyari\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anum Awan\u003c/a>, \u003ca href=\"https://arshiahaq.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arshia Fatima Haq\u003c/a> and \u003ca href=\"http://www.umbermajeed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Umber Majeed\u003c/a>’s pieces flicker and chatter, inviting attention and interaction to their respective corners. Awan’s corner offers a gamified interactive video installation from Pakistan Television Network’s archives. Steps away, Majeed lays out a mathematical feminist speculative imagining of Pakistan’s nuclear force. At the same time, Allahyari’s 3D-modelled jinns absorb current political and personal disruptions into their force fields.\u003c/p>\n\u003cfigure id=\"attachment_13874933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Majeed_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Umber Majeed, ‘Untitled,’ 2019–20; digital publication interactive installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably, the curators made a deliberate choice to minimally contextualize the show. There’s no extensive writing on the wall about each country’s geo-political history or relationship to the United States’ current administration. (For the latter, one need only follow the news generated by this country’s mercurial president.) Instead, gallery-goers are thrust inside thousand-year-old myths about Islamic spiritual figures and the artists’ modern interpretations of them. It’s an approach that reframes where a story can start, instead of centering itself on the knowledge, or lack thereof, of American audiences.\u003c/p>\n\u003cp>The title of the show, \u003cem>Where do you want ghosts to reside?\u003c/em>, is borrowed from the first stanza of Lebanese poet and artist Etel Adnan’s short and explosive war elegy, “\u003ca href=\"https://www.poetryfoundation.org/poems/53855/xliv-from-the-arab-apocalypse\" target=\"_blank\" rel=\"noopener noreferrer\">XLIV\u003c/a>” from \u003cem>The Arab Apocalypse\u003c/em>. Adnan’s poem speaks of a scattered diaspora whose fate is precarious. The exhibition’s answer to the poem’s question appears to be, in part, a borderless digital space. The heavy use of technological mediums in the show is evidence of how virtual space serves as a safe host for cultural artifacts and memories. Virtual space circumvents geographical borders that have proven dangerous; it encompasses ideas of home that are too slippery to hold.\u003c/p>\n\u003cfigure id=\"attachment_13874934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Awan_1200.jpg\" alt=\"\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-1020x714.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anum Awan, ‘PTV,’ 2020; interactive video installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13874591,arts_13859794,arts_13873186' label='Related Coverage']The evening of Feb. 7 at CounterPulse, Seraj and Bhutto introduced \u003cem>Breaching Towards Other Futures\u003c/em>, a performance extension of the exhibition. Featuring Allahyari and \u003ca href=\"https://shirinfahimi.com/work\" target=\"_blank\" rel=\"noopener noreferrer\">Shirin Fahimi\u003c/a>, the performance expanded on Aisha Qandisha, a female jinn the former artist introduced at Southern Exposure through a short film. Aisha, one of the most honored and fearsome jinn, is known as “the opener.” She doesn’t take over her hosts but rather opens them up to “an outside storm of incoming jinn and demons; making them a traffic zone of cosmodromic data.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance\" target=\"_blank\" rel=\"noopener noreferrer\">Denied entry\u003c/a> into the United States just days ahead of the show, Fahimi took the CounterPulse stage via Skype from a gallery in Toronto. The Iranian-Canadian citizen had previously traveled without issue to the U.S. but ahead of her collaboration with Allahyari, U.S. immigration officials in Toronto barred her from boarding her plane. Projected on a fluttering sheet along the back of the stage, she performed the piece in coordination with Allahyari; Seraj stepped in as her physical proxy. The audience’s eyes followed the seamless flow between the three performers: Seraj’s cues and Fahimi’s reactions both underscored Allahyari’s narration. “Catastrophe is political and uneven,” read Allahyari. “Survival is then similarly political and uneven.”\u003c/p>\n\u003cp>Back in the gallery, that pace-setting metronomic drip comes from Haq’s video installation, made in collaboration with Los Angeles artist Cassils. In the video, Haq gilds a melting ice sculpture of the Buraq, a winged Islamic figure symbolizing physical and spiritual journeys. Haq’s attempt to preserve, and understand, a dissolving form speaks to the millennia-deep examinations threaded throughout \u003cem>Where do you want ghosts to reside?\u003c/em> With new technologies—and despite shifting political ground—the artists extend the lives of the ghosts who inhabit myths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Where do you want ghosts to reside?’ is on view at Southern Exposure through March 14, 2020. \u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The curators of 'Where do you want ghosts to reside?' reframe where stories can start, immersing audiences in millennia-old stories from the Muslim world.","status":"publish","parent":0,"modified":1705021292,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":786},"headData":{"title":"At Southern Exposure, the Ghosts of Myths and Memories Live on in Virtual Space | KQED","description":"The curators of 'Where do you want ghosts to reside?' reframe where stories can start, immersing audiences in millennia-old stories from the Muslim world.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1579251600,"endTime":1584252000,"startTimeString":"Jan. 17–March 14","venueName":"Southern Exposure","venueAddress":"3030 20th St., San Francisco","eventLink":"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside","path":"/arts/13874931/at-southern-exposure-the-ghosts-of-myths-and-memories-live-on-in-virtual-space","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first sound you hear when you enter Southern Exposure’s \u003cem>Where do you want ghosts to reside?\u003c/em> is slow but steady dripping, a watery metronome calibrating the audience for the reality that awaits. Curated by multimedia artists \u003ca href=\"http://www.azinseraj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Azin Seraj\u003c/a> and \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a>, the show and corresponding performance thrust viewers into myths and memories as interpreted by six artists from South Asian, Southwest Asian and North African diasporas. The common thread of the show is the Muslim world—though it’s a loose thread, mapped virtually across Egypt, Pakistan, India and Iran, all countries of origin or significance to the participating artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Inside the dark and cavernous gallery, \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Morehshin Allahyari\u003c/a>, \u003ca href=\"http://www.anumawan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anum Awan\u003c/a>, \u003ca href=\"https://arshiahaq.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arshia Fatima Haq\u003c/a> and \u003ca href=\"http://www.umbermajeed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Umber Majeed\u003c/a>’s pieces flicker and chatter, inviting attention and interaction to their respective corners. Awan’s corner offers a gamified interactive video installation from Pakistan Television Network’s archives. Steps away, Majeed lays out a mathematical feminist speculative imagining of Pakistan’s nuclear force. At the same time, Allahyari’s 3D-modelled jinns absorb current political and personal disruptions into their force fields.\u003c/p>\n\u003cfigure id=\"attachment_13874933\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Majeed_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Majeed_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Umber Majeed, ‘Untitled,’ 2019–20; digital publication interactive installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably, the curators made a deliberate choice to minimally contextualize the show. There’s no extensive writing on the wall about each country’s geo-political history or relationship to the United States’ current administration. (For the latter, one need only follow the news generated by this country’s mercurial president.) Instead, gallery-goers are thrust inside thousand-year-old myths about Islamic spiritual figures and the artists’ modern interpretations of them. It’s an approach that reframes where a story can start, instead of centering itself on the knowledge, or lack thereof, of American audiences.\u003c/p>\n\u003cp>The title of the show, \u003cem>Where do you want ghosts to reside?\u003c/em>, is borrowed from the first stanza of Lebanese poet and artist Etel Adnan’s short and explosive war elegy, “\u003ca href=\"https://www.poetryfoundation.org/poems/53855/xliv-from-the-arab-apocalypse\" target=\"_blank\" rel=\"noopener noreferrer\">XLIV\u003c/a>” from \u003cem>The Arab Apocalypse\u003c/em>. Adnan’s poem speaks of a scattered diaspora whose fate is precarious. The exhibition’s answer to the poem’s question appears to be, in part, a borderless digital space. The heavy use of technological mediums in the show is evidence of how virtual space serves as a safe host for cultural artifacts and memories. Virtual space circumvents geographical borders that have proven dangerous; it encompasses ideas of home that are too slippery to hold.\u003c/p>\n\u003cfigure id=\"attachment_13874934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Awan_1200.jpg\" alt=\"\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Awan_1200-1020x714.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anum Awan, ‘PTV,’ 2020; interactive video installation. \u003ccite>(Courtesy the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874591,arts_13859794,arts_13873186","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The evening of Feb. 7 at CounterPulse, Seraj and Bhutto introduced \u003cem>Breaching Towards Other Futures\u003c/em>, a performance extension of the exhibition. Featuring Allahyari and \u003ca href=\"https://shirinfahimi.com/work\" target=\"_blank\" rel=\"noopener noreferrer\">Shirin Fahimi\u003c/a>, the performance expanded on Aisha Qandisha, a female jinn the former artist introduced at Southern Exposure through a short film. Aisha, one of the most honored and fearsome jinn, is known as “the opener.” She doesn’t take over her hosts but rather opens them up to “an outside storm of incoming jinn and demons; making them a traffic zone of cosmodromic data.”\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>\u003ca href=\"https://www.kqed.org/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance\" target=\"_blank\" rel=\"noopener noreferrer\">Denied entry\u003c/a> into the United States just days ahead of the show, Fahimi took the CounterPulse stage via Skype from a gallery in Toronto. The Iranian-Canadian citizen had previously traveled without issue to the U.S. but ahead of her collaboration with Allahyari, U.S. immigration officials in Toronto barred her from boarding her plane. Projected on a fluttering sheet along the back of the stage, she performed the piece in coordination with Allahyari; Seraj stepped in as her physical proxy. The audience’s eyes followed the seamless flow between the three performers: Seraj’s cues and Fahimi’s reactions both underscored Allahyari’s narration. “Catastrophe is political and uneven,” read Allahyari. “Survival is then similarly political and uneven.”\u003c/p>\n\u003cp>Back in the gallery, that pace-setting metronomic drip comes from Haq’s video installation, made in collaboration with Los Angeles artist Cassils. In the video, Haq gilds a melting ice sculpture of the Buraq, a winged Islamic figure symbolizing physical and spiritual journeys. Haq’s attempt to preserve, and understand, a dissolving form speaks to the millennia-deep examinations threaded throughout \u003cem>Where do you want ghosts to reside?\u003c/em> With new technologies—and despite shifting political ground—the artists extend the lives of the ghosts who inhabit myths.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Where do you want ghosts to reside?’ is on view at Southern Exposure through March 14, 2020. \u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874931/at-southern-exposure-the-ghosts-of-myths-and-memories-live-on-in-virtual-space","authors":["11625"],"categories":["arts_70"],"tags":["arts_1018","arts_1118","arts_596","arts_769","arts_2887"],"featImg":"arts_13874932","label":"arts"},"arts_13874591":{"type":"posts","id":"arts_13874591","meta":{"index":"posts_1591205157","site":"arts","id":"13874591","score":null,"sort":[1581105084000]},"guestAuthors":[],"slug":"iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance","title":"Iranian-Canadian Artist Denied Entry to US for San Francisco Performance","publishDate":1581105084,"format":"standard","headTitle":"Iranian-Canadian Artist Denied Entry to US for San Francisco Performance | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local arts organizations have noted a rise in both the \u003ca href=\"https://www.kqed.org/arts/13859794/trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say\" rel=\"noopener noreferrer\" target=\"_blank\">delay and denial of artist visas\u003c/a> in recent years, coinciding with President Trump’s policy of “extreme vetting,” but Fahimi’s situation is different—no paperwork is necessary for Canadian citizens to travel to the United States. Yet, \u003ca href=\"https://www.cnn.com/2020/01/30/politics/memo-border-officers-iran-soleimani/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">an internal memo\u003c/a> recently obtained by CNN suggests that Customs and Border Protection (CBP) officers working in Canadian ports of entry were directed to detain and question travelers of Iranian descent in early January, following the death of Iranian Maj. Gen. Qassem Soleimani.[aside postID='arts_13874154,arts_13873186,arts_13859794' label='Related Coverage']\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n","blocks":[],"excerpt":"Shirin Fahimi, who holds a Canadian passport, was detained and questioned at the Toronto airport by U.S. officials before being denied entry.","status":"publish","parent":0,"modified":1705021329,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":809},"headData":{"title":"Iranian-Canadian Artist Denied Entry to US for San Francisco Performance | KQED","description":"Shirin Fahimi, who holds a Canadian passport, was detained and questioned at the Toronto airport by U.S. officials before being denied entry.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\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>Local arts organizations have noted a rise in both the \u003ca href=\"https://www.kqed.org/arts/13859794/trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say\" rel=\"noopener noreferrer\" target=\"_blank\">delay and denial of artist visas\u003c/a> in recent years, coinciding with President Trump’s policy of “extreme vetting,” but Fahimi’s situation is different—no paperwork is necessary for Canadian citizens to travel to the United States. Yet, \u003ca href=\"https://www.cnn.com/2020/01/30/politics/memo-border-officers-iran-soleimani/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">an internal memo\u003c/a> recently obtained by CNN suggests that Customs and Border Protection (CBP) officers working in Canadian ports of entry were directed to detain and question travelers of Iranian descent in early January, following the death of Iranian Maj. Gen. Qassem Soleimani.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874154,arts_13873186,arts_13859794","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874591/iranian-canadian-artist-denied-entry-to-us-for-san-francisco-performance","authors":["61"],"categories":["arts_235","arts_1003"],"tags":["arts_1018","arts_1118","arts_3914","arts_1773","arts_5826","arts_2887"],"featImg":"arts_13874156","label":"arts"},"arts_13871844":{"type":"posts","id":"arts_13871844","meta":{"index":"posts_1591205157","site":"arts","id":"13871844","score":null,"sort":[1576803800000]},"guestAuthors":[],"slug":"the-best-art-i-saw-in-2019","title":"The Best Art I Saw in 2019","publishDate":1576803800,"format":"aside","headTitle":"The Best Art I Saw in 2019 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Who knew the last year of the decade was going to be such a rollercoaster? As if seeking to cram as much drama, as many ethical debates and emotional farewells into the end of the 2010s as possible, 2019 stood out as a year of turmoil and reckoning in the Bay Area art scene.\u003c/p>\n\u003cp>Worldwide, artists, audiences and institutions \u003ca href=\"https://missionlocal.org/2019/05/toxic-donors-are-coming-under-fire-at-art-museums-but-not-in-liberal-san-francisco-what-will-sfmoma-do/\" target=\"_blank\" rel=\"noopener noreferrer\">grappled\u003c/a> with the morality of relying on money made through opioid and teargas sales, or the development of surveillance technologies. Locally, \u003ca href=\"https://www.kqed.org/forum/2010101872745/controversial-george-washington-high-school-mural-revisited\" target=\"_blank\" rel=\"noopener noreferrer\">we debated\u003c/a> the meaning of images—and how to weigh an artist’s long-ago intention against contemporary interpretations. We lost \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">local\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">heroes\u003c/a>, arts spaces and community hubs. And we are \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/the-di-rosa-center-has-started-the-process-of-selling-off-its-iconic-art\" target=\"_blank\" rel=\"noopener noreferrer\">soon to lose\u003c/a> a significant number of irreplaceable pieces of Northern California art. But in answer to all that, in spite of all that, there was: So. Much. Good. Art.\u003c/p>\n\u003cp>My highly personal, in-no-way-comprehensive list of the best art I saw in 2019 is particularly stacked with video and film work this year. These works, events and exhibitions stood out against a backdrop of general disorder, fortifying me for whatever’s to come in the year ahead.\u003c/p>\n\u003ch2>Best Proposal for a Way to Deal With All Our Statues of Men\u003c/h2>\n\u003cp>\u003cb>Javier Ocampo, ‘Te Amo’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871867\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Javier Ocampo, ‘Te Amo.’ \u003ccite>(Courtesy of the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mexican artist Javier Ocampo’s short video \u003ci>Te Amo\u003c/i> was the standout piece in Southern Exposure’s \u003ci>\u003ca href=\"https://www.soex.org/projects-exhibitions/tallest-part-arch\" target=\"_blank\" rel=\"noopener noreferrer\">The Tallest Part of the Arch\u003c/a>\u003c/i>, curated by Marcela Pardo Ariza. Scaling the often gargantuan pedestals of historic monuments (all men, of course), Ocampo wraps himself around the stone heads in loving embraces, making out with monuments to war, “progress” and patriarchal society. In his hands, they become props in a playfully erotic vision of urban architecture, a welcome proposal in the midst of our current debate about public statuary.\u003c/p>\n\u003ch2>Best Video Art for Our Gig-Economy Times\u003c/h2>\n\u003cp>\u003cb>Bonanza, ‘ThunderCoat’\u003c/b>\u003c/p>\n\u003cp>https://youtu.be/J-4YXCn5D8o\u003c/p>\n\u003cp>\u003ci>ThunderCoat\u003c/i> illustrates a deep-seated and near-universal desire: to throw our phones away and cuddle up with dogs. The 18-minute video from the collaborative trio \u003ca href=\"https://www.kqed.org/arts/13855262/thundercoat-bonanza-telematic-gig-economy\" target=\"_blank\" rel=\"noopener noreferrer\">Bonanza\u003c/a>, which debuted in a show at \u003ca href=\"https://www.tttelematiccc.com/bonanza\" target=\"_blank\" rel=\"noopener noreferrer\">Telematic\u003c/a>, nails the anxiety-inducing pings of smartphone alerts, the stress of driving in a grocery store parking lot and the small solace one might glean from the proximity of a sad-eyed pup. On second consideration, \u003ci>ThunderCoat\u003c/i> isn’t a satire of Bay Area gig-economy life—it’s a reenactment.\u003c/p>\n\u003ch2>Best Memorial Screening For a Feminist Film Icon\u003c/h2>\n\u003cp>\u003cb>Barbara Hammer, ‘Cinema of Intimacy’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871866\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/hammer_audience-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Hammer (left) in her film ‘Audience,’ 1982. \u003ccite>(Courtesy of Electronic Arts Intermix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After legendary lesbian experimental filmmaker Barbara Hammer passed away in March, local curators Susannah Magers and Tanya Zimbardo organized two \u003ca href=\"https://www.roxie.com/ai1ec_event/canyon-cinema-barbara-hammer-cinema-of-intimacy/?instance_id=\" target=\"_blank\" rel=\"noopener noreferrer\">sold-out screenings\u003c/a> at the Roxie of Hammer’s early Bay Area-centered work. The event, co-presented by Canyon Cinema Foundation, brought both revelation and joy in a celebration of an artist whose work resonates just as powerfully now as it did 45 years ago. In a delightful bit of site specificity, the program’s opening film, 1982’s \u003ci>Audience\u003c/i>, shows Hammer chatting up people waiting outside the Roxie for the San Francisco International Lesbian and Gay Film Festival.\u003c/p>\n\u003ch2>Best Last Shows\u003c/h2>\n\u003cp>\u003cb>Liz Magor, ‘Timeshare’ and Nina Canell, ‘Drag-Out’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871868\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web.jpg\" alt=\"\" width=\"1600\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-1200x802.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Liz Magor, ‘One Bedroom Apartment,’ 1996–2019; installation view of ‘TIMESHARE’ at The David Ireland House, 500 Capp Street Foundation. \u003ccite>(Courtesy of the artist and Susan Hobbs Gallery, Toronto; photograph Preston/Kalogiros courtesy of the 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the 500 Capp Street Foundation’s board \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">suddenly dismissed\u003c/a> the venue’s head curator, and before the exhibiting artists \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\" target=\"_blank\" rel=\"noopener noreferrer\">pulled their artwork\u003c/a> in gestures of solidarity, two fantastic shows appeared at at David Ireland’s former home. Liz Magor’s \u003ci>Timeshare\u003c/i> radically rearranged the late artist’s belongings, a nod to Ireland’s own penchant for reorganizing his art-filled home, but taken to the nth degree. Her sculptures (a cast polyester resin dog; a long, low platform covered in an arrangement of boxed shoes; a wooden chair draped with a rubbery garment bag) seemed caught between move-in and move-out, a state that became all the more real when the show ended prematurely.\u003c/p>\n\u003cp>Canell’s works were similarly tinged by the circumstances. The oozy movement of a leopard slug over electronics and the slow zoom-out from a Hong Kong building in the video \u003ci>Energy Budget\u003c/i> (made with Robin Watkins) seemed in direct contrast to the confusion and agitation that surrounded the last day of the artist’s show. On the house’s terrace space, her sculpture made from a segment of subsea cable looked a lot like an exciting contemporary exhibition program cut short.\u003c/p>\n\u003ch2>Best Use of Wet n Wild Blush in an Exhibition\u003c/h2>\n\u003cp>\u003cb>Nicki Green, ‘Splitting/Unifying’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871869\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Green, ‘A Discrete History of Intimacy and Violence (double urinal basin with faucets),’ 2019. \u003ccite>(Courtesy of Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Green\u003c/a> made all the work in \u003ci>Splitting/Unifying\u003c/i> while in residence at the John Michael Kohler Art Center—yes, that Kohler. Using waste materials from the Kohler factory, she cut up and reassembled sinks, toilets, urinal basins and faucets into “Frankensteined” sculptures, covering their white surfaces with delicate, lavender-hued patterns and illustrations. The great pleasure in this show was in its details: an extended two-by-four stabilizing a sculpture’s base; a stack of Kohler-branded boxes in the gallery’s back corner; and the light brushing of rosy Wet n Wild blush that highlighted the meeting point of wall and floor.\u003c/p>\n\u003ch2>Best Student-Installed Show of Copies, Appropriations and Remixes\u003c/h2>\n\u003cp>\u003cb>‘Copycat’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/SeanPeeler_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sean Peeler’s ‘A Snapshot Revisited’ in SFSU’s ‘Copycat.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a unique exhibition design course at San Francisco State University, students went through the steps of researching artists, writing didactic wall text, conducting condition reports on artwork and installing artwork, getting hands-on experience in all aspects of assembling what turned out to be one of the best group shows I saw all year. Curated by Kevin B. Chen (who taught the course), \u003ci>\u003ca href=\"https://lca.sfsu.edu/events/2019-09-21-070000-2019-10-31-070000/819096\" target=\"_blank\" rel=\"noopener noreferrer\">Copycat\u003c/a>\u003c/i> included \u003ca href=\"http://seanpeeler.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Peeler\u003c/a>’s \u003ci>A Snapshot Revisited\u003c/i>, a hall-of-mirrors-esque examination of a casual party shot, rendered in a dizzying variety of photographic, artistic and vernacular materials (e.g. a photo-print cake). Another knockout: \u003ca href=\"https://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Thorson\u003c/a>’s cast bronze bottles and tubes, recognizable consumer products that take on a hefty permanence. In \u003ci>Copycat\u003c/i>, the act of copying became generative and inspiring, instead of something that degrades and devalues an elusive “original.”\u003c/p>\n\u003ch2>Best 18-Minute Watching Experience\u003c/h2>\n\u003cp>\u003cb>Pat O’Neill, ‘Saugus Series’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871876\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/4.-Saugus-Series_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pat O’Neill, ‘Saugus Series,’ 1974/2014 (composite). \u003ccite>(© Lookout Mountain Studios; photo: courtesy Philip Martin Gallery, Los Angeles; Mitchell-Innes and Nash, New York; and Monitor Gallery, Rome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t know what I expected when I popped into \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pat-oneill/\" target=\"_blank\" rel=\"noopener noreferrer\">Three Answers\u003c/a>\u003c/i>, an SFMOMA show of Pat O’Neill’s work curated by Tanya Zimbardo, but it definitely wasn’t to sit with my jaw dropped for 18 minutes while the experimental filmmaker’s \u003ci>Saugus Series\u003c/i> played in front of me. The 1974 film, reworked in 2014 into a three-channel presentation, combines layered clips, everyday audio and sometimes magical film effects that are slightly impossible to imagine doing now, in the thoroughly digital era. At one point, pleasant orchestral music plays as blue, red and yellow paint “pours” over a moving image of a water-covered rock; it’s wonderfully surreal. I can only hope this work, now part of SFMOMA’s collection, will be screened again and again for years to come.\u003c/p>\n\u003ch2>Best Live Performance That Made My Face Hurt (from Smiling)\u003c/h2>\n\u003cp>\u003cb>An evening with Morgan Bassichis\u003c/b>\u003c/p>\n\u003cp>https://vimeo.com/366588178\u003c/p>\n\u003cp>For just a few hours in late September, New York performance artist Morgan Bassichis held \u003ca href=\"https://kadist.org/program/morgan-bassichis/\" target=\"_blank\" rel=\"noopener noreferrer\">a KADIST audience\u003c/a> in rapturous awe. Dressed in an Elaine Stritch-style outfit and seated at a piano, Bassichis alternated between self-deprecating stand-up, soliciting the audience for lyrics and lovely improvisational songs. Covering attachment styles, self-help books, \u003ci>The Good Wife\u003c/i>, dieting fads, things we want to “cast out” and so much more, each of Bassichis’ songs felt like a cathartic incantation. Even with a shy, self-conscious art audience, Bassichis had everyone cracking up and smiling ear-to-ear by the end of our too-short time together. What Bay Area venue is going to bring them back in 2020?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A highly personal, in-no-way-comprehensive list of works, events and exhibitions that stood out against a backdrop of general disorder.","status":"publish","parent":0,"modified":1705021636,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1480},"headData":{"title":"The Best Art I Saw in 2019 | KQED","description":"A highly personal, in-no-way-comprehensive list of works, events and exhibitions that stood out against a backdrop of general disorder.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871844/the-best-art-i-saw-in-2019","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who knew the last year of the decade was going to be such a rollercoaster? As if seeking to cram as much drama, as many ethical debates and emotional farewells into the end of the 2010s as possible, 2019 stood out as a year of turmoil and reckoning in the Bay Area art scene.\u003c/p>\n\u003cp>Worldwide, artists, audiences and institutions \u003ca href=\"https://missionlocal.org/2019/05/toxic-donors-are-coming-under-fire-at-art-museums-but-not-in-liberal-san-francisco-what-will-sfmoma-do/\" target=\"_blank\" rel=\"noopener noreferrer\">grappled\u003c/a> with the morality of relying on money made through opioid and teargas sales, or the development of surveillance technologies. Locally, \u003ca href=\"https://www.kqed.org/forum/2010101872745/controversial-george-washington-high-school-mural-revisited\" target=\"_blank\" rel=\"noopener noreferrer\">we debated\u003c/a> the meaning of images—and how to weigh an artist’s long-ago intention against contemporary interpretations. We lost \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">local\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13859939/remembering-kevin-killian-poet-playwright-and-artist-who-gave-us-courage\" target=\"_blank\" rel=\"noopener noreferrer\">heroes\u003c/a>, arts spaces and community hubs. And we are \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/the-di-rosa-center-has-started-the-process-of-selling-off-its-iconic-art\" target=\"_blank\" rel=\"noopener noreferrer\">soon to lose\u003c/a> a significant number of irreplaceable pieces of Northern California art. But in answer to all that, in spite of all that, there was: So. Much. Good. Art.\u003c/p>\n\u003cp>My highly personal, in-no-way-comprehensive list of the best art I saw in 2019 is particularly stacked with video and film work this year. These works, events and exhibitions stood out against a backdrop of general disorder, fortifying me for whatever’s to come in the year ahead.\u003c/p>\n\u003ch2>Best Proposal for a Way to Deal With All Our Statues of Men\u003c/h2>\n\u003cp>\u003cb>Javier Ocampo, ‘Te Amo’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871867\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Javier-Ocampo-Te-Amo-NEW-high-res_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Javier Ocampo, ‘Te Amo.’ \u003ccite>(Courtesy of the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mexican artist Javier Ocampo’s short video \u003ci>Te Amo\u003c/i> was the standout piece in Southern Exposure’s \u003ci>\u003ca href=\"https://www.soex.org/projects-exhibitions/tallest-part-arch\" target=\"_blank\" rel=\"noopener noreferrer\">The Tallest Part of the Arch\u003c/a>\u003c/i>, curated by Marcela Pardo Ariza. Scaling the often gargantuan pedestals of historic monuments (all men, of course), Ocampo wraps himself around the stone heads in loving embraces, making out with monuments to war, “progress” and patriarchal society. In his hands, they become props in a playfully erotic vision of urban architecture, a welcome proposal in the midst of our current debate about public statuary.\u003c/p>\n\u003ch2>Best Video Art for Our Gig-Economy Times\u003c/h2>\n\u003cp>\u003cb>Bonanza, ‘ThunderCoat’\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J-4YXCn5D8o'\n title='//www.youtube.com/embed/J-4YXCn5D8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>ThunderCoat\u003c/i> illustrates a deep-seated and near-universal desire: to throw our phones away and cuddle up with dogs. The 18-minute video from the collaborative trio \u003ca href=\"https://www.kqed.org/arts/13855262/thundercoat-bonanza-telematic-gig-economy\" target=\"_blank\" rel=\"noopener noreferrer\">Bonanza\u003c/a>, which debuted in a show at \u003ca href=\"https://www.tttelematiccc.com/bonanza\" target=\"_blank\" rel=\"noopener noreferrer\">Telematic\u003c/a>, nails the anxiety-inducing pings of smartphone alerts, the stress of driving in a grocery store parking lot and the small solace one might glean from the proximity of a sad-eyed pup. On second consideration, \u003ci>ThunderCoat\u003c/i> isn’t a satire of Bay Area gig-economy life—it’s a reenactment.\u003c/p>\n\u003ch2>Best Memorial Screening For a Feminist Film Icon\u003c/h2>\n\u003cp>\u003cb>Barbara Hammer, ‘Cinema of Intimacy’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871866\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/hammer_audience-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/hammer_audience-1_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Hammer (left) in her film ‘Audience,’ 1982. \u003ccite>(Courtesy of Electronic Arts Intermix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After legendary lesbian experimental filmmaker Barbara Hammer passed away in March, local curators Susannah Magers and Tanya Zimbardo organized two \u003ca href=\"https://www.roxie.com/ai1ec_event/canyon-cinema-barbara-hammer-cinema-of-intimacy/?instance_id=\" target=\"_blank\" rel=\"noopener noreferrer\">sold-out screenings\u003c/a> at the Roxie of Hammer’s early Bay Area-centered work. The event, co-presented by Canyon Cinema Foundation, brought both revelation and joy in a celebration of an artist whose work resonates just as powerfully now as it did 45 years ago. In a delightful bit of site specificity, the program’s opening film, 1982’s \u003ci>Audience\u003c/i>, shows Hammer chatting up people waiting outside the Roxie for the San Francisco International Lesbian and Gay Film Festival.\u003c/p>\n\u003ch2>Best Last Shows\u003c/h2>\n\u003cp>\u003cb>Liz Magor, ‘Timeshare’ and Nina Canell, ‘Drag-Out’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871868\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web.jpg\" alt=\"\" width=\"1600\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Magor_One-Bedroom-Apartment_1996-2019_TIMESHARE_David-Ireland-House_500-Capp-Street-Foundation_2019_install_02_web-1200x802.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Liz Magor, ‘One Bedroom Apartment,’ 1996–2019; installation view of ‘TIMESHARE’ at The David Ireland House, 500 Capp Street Foundation. \u003ccite>(Courtesy of the artist and Susan Hobbs Gallery, Toronto; photograph Preston/Kalogiros courtesy of the 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the 500 Capp Street Foundation’s board \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">suddenly dismissed\u003c/a> the venue’s head curator, and before the exhibiting artists \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\" target=\"_blank\" rel=\"noopener noreferrer\">pulled their artwork\u003c/a> in gestures of solidarity, two fantastic shows appeared at at David Ireland’s former home. Liz Magor’s \u003ci>Timeshare\u003c/i> radically rearranged the late artist’s belongings, a nod to Ireland’s own penchant for reorganizing his art-filled home, but taken to the nth degree. Her sculptures (a cast polyester resin dog; a long, low platform covered in an arrangement of boxed shoes; a wooden chair draped with a rubbery garment bag) seemed caught between move-in and move-out, a state that became all the more real when the show ended prematurely.\u003c/p>\n\u003cp>Canell’s works were similarly tinged by the circumstances. The oozy movement of a leopard slug over electronics and the slow zoom-out from a Hong Kong building in the video \u003ci>Energy Budget\u003c/i> (made with Robin Watkins) seemed in direct contrast to the confusion and agitation that surrounded the last day of the artist’s show. On the house’s terrace space, her sculpture made from a segment of subsea cable looked a lot like an exciting contemporary exhibition program cut short.\u003c/p>\n\u003ch2>Best Use of Wet n Wild Blush in an Exhibition\u003c/h2>\n\u003cp>\u003cb>Nicki Green, ‘Splitting/Unifying’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871869\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/NickiGreenADiscreteHistoryofIntimacyandViolence5_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Green, ‘A Discrete History of Intimacy and Violence (double urinal basin with faucets),’ 2019. \u003ccite>(Courtesy of Et al. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Green\u003c/a> made all the work in \u003ci>Splitting/Unifying\u003c/i> while in residence at the John Michael Kohler Art Center—yes, that Kohler. Using waste materials from the Kohler factory, she cut up and reassembled sinks, toilets, urinal basins and faucets into “Frankensteined” sculptures, covering their white surfaces with delicate, lavender-hued patterns and illustrations. The great pleasure in this show was in its details: an extended two-by-four stabilizing a sculpture’s base; a stack of Kohler-branded boxes in the gallery’s back corner; and the light brushing of rosy Wet n Wild blush that highlighted the meeting point of wall and floor.\u003c/p>\n\u003ch2>Best Student-Installed Show of Copies, Appropriations and Remixes\u003c/h2>\n\u003cp>\u003cb>‘Copycat’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/SeanPeeler_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/SeanPeeler_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Sean Peeler’s ‘A Snapshot Revisited’ in SFSU’s ‘Copycat.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a unique exhibition design course at San Francisco State University, students went through the steps of researching artists, writing didactic wall text, conducting condition reports on artwork and installing artwork, getting hands-on experience in all aspects of assembling what turned out to be one of the best group shows I saw all year. Curated by Kevin B. Chen (who taught the course), \u003ci>\u003ca href=\"https://lca.sfsu.edu/events/2019-09-21-070000-2019-10-31-070000/819096\" target=\"_blank\" rel=\"noopener noreferrer\">Copycat\u003c/a>\u003c/i> included \u003ca href=\"http://seanpeeler.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Peeler\u003c/a>’s \u003ci>A Snapshot Revisited\u003c/i>, a hall-of-mirrors-esque examination of a casual party shot, rendered in a dizzying variety of photographic, artistic and vernacular materials (e.g. a photo-print cake). Another knockout: \u003ca href=\"https://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Thorson\u003c/a>’s cast bronze bottles and tubes, recognizable consumer products that take on a hefty permanence. In \u003ci>Copycat\u003c/i>, the act of copying became generative and inspiring, instead of something that degrades and devalues an elusive “original.”\u003c/p>\n\u003ch2>Best 18-Minute Watching Experience\u003c/h2>\n\u003cp>\u003cb>Pat O’Neill, ‘Saugus Series’\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13871876\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/4.-Saugus-Series_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/4.-Saugus-Series_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pat O’Neill, ‘Saugus Series,’ 1974/2014 (composite). \u003ccite>(© Lookout Mountain Studios; photo: courtesy Philip Martin Gallery, Los Angeles; Mitchell-Innes and Nash, New York; and Monitor Gallery, Rome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t know what I expected when I popped into \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/pat-oneill/\" target=\"_blank\" rel=\"noopener noreferrer\">Three Answers\u003c/a>\u003c/i>, an SFMOMA show of Pat O’Neill’s work curated by Tanya Zimbardo, but it definitely wasn’t to sit with my jaw dropped for 18 minutes while the experimental filmmaker’s \u003ci>Saugus Series\u003c/i> played in front of me. The 1974 film, reworked in 2014 into a three-channel presentation, combines layered clips, everyday audio and sometimes magical film effects that are slightly impossible to imagine doing now, in the thoroughly digital era. At one point, pleasant orchestral music plays as blue, red and yellow paint “pours” over a moving image of a water-covered rock; it’s wonderfully surreal. I can only hope this work, now part of SFMOMA’s collection, will be screened again and again for years to come.\u003c/p>\n\u003ch2>Best Live Performance That Made My Face Hurt (from Smiling)\u003c/h2>\n\u003cp>\u003cb>An evening with Morgan Bassichis\u003c/b>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"366588178"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For just a few hours in late September, New York performance artist Morgan Bassichis held \u003ca href=\"https://kadist.org/program/morgan-bassichis/\" target=\"_blank\" rel=\"noopener noreferrer\">a KADIST audience\u003c/a> in rapturous awe. Dressed in an Elaine Stritch-style outfit and seated at a piano, Bassichis alternated between self-deprecating stand-up, soliciting the audience for lyrics and lovely improvisational songs. Covering attachment styles, self-help books, \u003ci>The Good Wife\u003c/i>, dieting fads, things we want to “cast out” and so much more, each of Bassichis’ songs felt like a cathartic incantation. Even with a shy, self-conscious art audience, Bassichis had everyone cracking up and smiling ear-to-ear by the end of our too-short time together. What Bay Area venue is going to bring them back in 2020?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\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/13871844/the-best-art-i-saw-in-2019","authors":["61"],"categories":["arts_70"],"tags":["arts_9464","arts_6336","arts_596","arts_9510","arts_2887","arts_901"],"featImg":"arts_13871946","label":"arts"},"arts_13843171":{"type":"posts","id":"arts_13843171","meta":{"index":"posts_1591205157","site":"arts","id":"13843171","score":null,"sort":[1539904969000]},"guestAuthors":[],"slug":"southern-exposure-announces-resignation-of-executive-director","title":"Southern Exposure Announces Resignation of Executive Director","publishDate":1539904969,"format":"standard","headTitle":"Southern Exposure Announces Resignation of Executive Director | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>San Francisco visual arts nonprofit \u003ca href=\"https://soex.org/\" rel=\"noopener\" target=\"_blank\">Southern Exposure\u003c/a> announced Thursday that its Executive Director Patricia Maloney, who has held the position since March 2016, will resign at the end of 2018.\u003c/p>\n\u003cp>“Over the past several months, the staff and Board of Southern Exposure have undertaken the work collectively to reconceive organizational roles in order to fully support the organization’s mission and operating values,” an announcement sent by Maloney to the nonprofit’s email list reads. “In the process of undertaking this realignment, and to ensure the organization’s new needs are met, I have made the decision to step down as Executive Director at the end of this year.”\u003c/p>\n\u003cp>Maloney entered the role following the departure of previous executive director \u003ca href=\"https://www.kqed.org/arts/10840011/arts-shake-up-longtime-executive-director-leaves-southern-exposure\" rel=\"noopener\" target=\"_blank\">Courtney Fink\u003c/a>, who held the position for 13 years. Leigh Lehman, who worked as the interim executive director after Fink’s departure, will return to Southern Exposure in November to co-direct the organization with newly promoted Artistic Director Valerie Imus as Maloney moves into a consulting role. The board of directors will launch a search for the next ED within Southern Exposure’s new organizational structure in early 2019. \u003c/p>\n\u003cp>“Southern Exposure is evolving and we are sad to see Patricia go,” says Imus, who has been the exhibitions and projects program director at Southern Exposure since 2011. “We’re very excited about the future. This kind of co-leadership thinking is in some ways an evolution of the original artistic collective model that SoEx was founded on. And it’s also thinking about what an institution needs to be right now.”\u003c/p>\n\u003cp>Maloney’s planned resignation comes at the end of a year of personnel instability for the nonprofit, which has traditionally employed a full-time staff of five, including the ED. In February, Vreni Michelini Castillo, who was hired as a part-time paid \u003ca href=\"https://soex.org/news/2017/09/21/southern-exposures-new-development-fellow-vreni-michelini-castillo\" rel=\"noopener\" target=\"_blank\">development fellow\u003c/a> to assist with the Alternative Exposure grant program and Southern Exposure’s annual auction, left the organization four months in advance of the June 2018 end of her fellowship. Associate Director Nick Wylie and Director of Artists in Education Maya Gomez left their positions in late February, and Communications Director Lisa Martin left in early March. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The “realignment” of Southern Exposure’s staffing will result in a more horizontal structure, Maloney says. “The ED role is shifting much more into a fundraising role—that’s not where my core strength is” she says of her decision to resign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Imus, the Southern Exposure staff now includes a full-time engagement coordinator, a part-time artist-in-education facilitator and a part-time lead preparator. The nonprofit will post an opening for an external relations manager next week; they seek to fill the position as soon as possible.\u003c/p>\n\n","blocks":[],"excerpt":"Patricia Maloney, who joined the nonprofit in March 2016, will step down at the end of this year.","status":"publish","parent":0,"modified":1705027115,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":482},"headData":{"title":"Southern Exposure Announces Resignation of Executive Director | KQED","description":"Patricia Maloney, who joined the nonprofit in March 2016, will step down at the end of this year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13843171/southern-exposure-announces-resignation-of-executive-director","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco visual arts nonprofit \u003ca href=\"https://soex.org/\" rel=\"noopener\" target=\"_blank\">Southern Exposure\u003c/a> announced Thursday that its Executive Director Patricia Maloney, who has held the position since March 2016, will resign at the end of 2018.\u003c/p>\n\u003cp>“Over the past several months, the staff and Board of Southern Exposure have undertaken the work collectively to reconceive organizational roles in order to fully support the organization’s mission and operating values,” an announcement sent by Maloney to the nonprofit’s email list reads. “In the process of undertaking this realignment, and to ensure the organization’s new needs are met, I have made the decision to step down as Executive Director at the end of this year.”\u003c/p>\n\u003cp>Maloney entered the role following the departure of previous executive director \u003ca href=\"https://www.kqed.org/arts/10840011/arts-shake-up-longtime-executive-director-leaves-southern-exposure\" rel=\"noopener\" target=\"_blank\">Courtney Fink\u003c/a>, who held the position for 13 years. Leigh Lehman, who worked as the interim executive director after Fink’s departure, will return to Southern Exposure in November to co-direct the organization with newly promoted Artistic Director Valerie Imus as Maloney moves into a consulting role. The board of directors will launch a search for the next ED within Southern Exposure’s new organizational structure in early 2019. \u003c/p>\n\u003cp>“Southern Exposure is evolving and we are sad to see Patricia go,” says Imus, who has been the exhibitions and projects program director at Southern Exposure since 2011. “We’re very excited about the future. This kind of co-leadership thinking is in some ways an evolution of the original artistic collective model that SoEx was founded on. And it’s also thinking about what an institution needs to be right now.”\u003c/p>\n\u003cp>Maloney’s planned resignation comes at the end of a year of personnel instability for the nonprofit, which has traditionally employed a full-time staff of five, including the ED. In February, Vreni Michelini Castillo, who was hired as a part-time paid \u003ca href=\"https://soex.org/news/2017/09/21/southern-exposures-new-development-fellow-vreni-michelini-castillo\" rel=\"noopener\" target=\"_blank\">development fellow\u003c/a> to assist with the Alternative Exposure grant program and Southern Exposure’s annual auction, left the organization four months in advance of the June 2018 end of her fellowship. Associate Director Nick Wylie and Director of Artists in Education Maya Gomez left their positions in late February, and Communications Director Lisa Martin left in early March. \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 “realignment” of Southern Exposure’s staffing will result in a more horizontal structure, Maloney says. “The ED role is shifting much more into a fundraising role—that’s not where my core strength is” she says of her decision to resign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Imus, the Southern Exposure staff now includes a full-time engagement coordinator, a part-time artist-in-education facilitator and a part-time lead preparator. The nonprofit will post an opening for an external relations manager next week; they seek to fill the position as soon as possible.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13843171/southern-exposure-announces-resignation-of-executive-director","authors":["61"],"programs":["arts_1272"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1448","arts_596","arts_2887"],"featImg":"arts_10840392","label":"arts_1272"},"arts_13825965":{"type":"posts","id":"arts_13825965","meta":{"index":"posts_1591205157","site":"arts","id":"13825965","score":null,"sort":[1519934430000]},"guestAuthors":[],"slug":"surprises-even-at-the-bathroom-sink-in-spirited-probabilities","title":"Surprises Even at the Bathroom Sink in 'Spirited Probabilities'","publishDate":1519934430,"format":"standard","headTitle":"Surprises Even at the Bathroom Sink in ‘Spirited Probabilities’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mik Gaspay asks Bay Area artists — and Southern Exposure visitors — to entertain the possibilities of space.","status":"publish","parent":0,"modified":1705028370,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":790},"headData":{"title":"Surprises Even at the Bathroom Sink in 'Spirited Probabilities' | KQED","description":"Mik Gaspay asks Bay Area artists — and Southern Exposure visitors — to entertain the possibilities of space.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13825965/surprises-even-at-the-bathroom-sink-in-spirited-probabilities","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003cem>Spirited Probabilities\u003c/em>, currently at Southern Exposure, curator Mik Gaspay has summoned a baker’s dozen of Bay Area artists for a group show in which careful consideration and “playful interventions” give way to chance encounters. Gaspay’s stated goal is to consider “the flexibility of institutional structures and their physical architectures”; the institutional structure with the starring role being Southern Exposure itself.\u003c/p>\n\u003cp>The artists use the space’s composition as a blueprint, but they don’t approach it as a limited, fixed premise. Instead, they employ all of its parts and leave no section of Southern Exposure’s available square footage undisturbed. Charlie Leese’s sculptural installation even extends into the restroom foyer in an investigation of “architectural hierarchies and overlapping physical and digital spaces.” Visitors can actually interact with Leese’s work while washing their hands at the bathroom sink.\u003c/p>\n\u003cfigure id=\"attachment_13825988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825988 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg\" alt=\"Installation view of Charlie Leese's 'Internal Structure' from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/CL_JR_0859-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Charlie Leese’s ‘Internal Structure’ from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Jonas Taylor’s piece \u003ci>Portal\u003c/i> confronts visitors as they enter the center of the exhibition. At once, folks are greeted by an obstacle course of shiny sculptures and an array of materials (Plexiglas, vinyl, gravel, confetti, plywood, and carpet) accumulated in judicious piles on the floor. Colored flood lights illuminate various parts of Taylor’s work.\u003c/p>\n\u003cp>Following the idea of a boundary-less institution, Simone Bailey stakes claim over the grand picture window facing Alabama Street. The untitled stained glass work is composed of a mixture that includes a raw form of lanolin, paprika, and activated charcoal. This piece is best witnessed in the afternoon as it manipulates the natural light that enters the space during the day. Nature’s elements, too, lend a hand in the planned happenstance of \u003cem>Spirited Probabilities\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13825990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg\" alt=\"Luca Antonucci, Contraction and release, 2018, video loop on CRT monitor. Installation view from 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LA_0794-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luca Antonucci, ‘Contraction and release,’ 2018, video loop on CRT monitor. Installation view from ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luca Antonucci offers up four of his works for the show, but \u003cem>Here we are again, running out of time\u003c/em> is especially memorable for its meta quality — it is a meditation on spaces within an exhibition that meditates space. Copies of the 112-page softcover book rest within and on top of a bookshelf made of wood and neon Plexiglas. The makeshift library creates the sensibility of a hideaway nook, inviting visitors to indulge in a bit of respite and flip through a book of images procured from San Francisco-based narrative films (as well as locations scouted for their ability to serve as stand-ins for San Francisco).\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>George Pfau also caters to nook-loving, alcove-seeking individuals. Resting unassumingly in a darkened corner — save for a reading light — of Southern Exposure’s front entrance, a small rectangular white table and stool invite intimate parties to sit and flip through a hefty book of black-and-white drawings of dreamscapes and imaginary settings. Each page explores how “black lines can be used to circumscribe boundaries between things; in particular, the porousness between bodies and their environment.” Viewers can see meticulous illustrations of people physically melting in the workplace or against anonymous palatial backdrops. In other drawings, Dalmatians frolic alongside whales and bears. Pfau presents a potpourri of curious, clashing surroundings that interrupt understood notions of environmental borderlines.\u003c/p>\n\u003cfigure id=\"attachment_13825991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13825991 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg\" alt=\"Installation view from Maria Guzmán Capron’s 'Amadora' in 'Spirited Probabilities' at Southern Exposure in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Main_Gallery_B_0808-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view from Maria Guzmán Capron’s ‘Amadora’ in ‘Spirited Probabilities’ at Southern Exposure in San Francisco. \u003ccite>(Photo: Mik Gaspay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria Guzmán Capron’s \u003ci>Amadora\u003c/i>, scales the length of a large column at the center of the space. And in terms of vantage points, the playfully imposing textile sculpture wins in that it can be seen from just about every corner of the room. The figure, made of a colorful patchwork of fabric, batting, stuffing, and wire appears to be upside down, but grips the column in a comfortable manner that suggests it is an agile creature. A sort of elephant in the room, this work joins in on the enthusiastic pursuit of testing out unexpected locations in a larger-than-life way. What was once a nondescript structural fixture, a column, is transformed into one of the main focal points of the building’s interior.\u003c/p>\n\u003cp>\u003cem>Spirited Probabilities\u003c/em>’ exuberant probing at the possibilities of space is contagious. Once they get the hang of it, visitors become super sleuths, determined to detect even the most inconspicuous works in the show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spirited Probabilities’ is on view through March 31 at Southern Exposure in San Francisco. \u003ca href=\"https://www.soex.org/projects-exhibitions/spirited-probabilities\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825965/surprises-even-at-the-bathroom-sink-in-spirited-probabilities","authors":["11396"],"categories":["arts_70"],"tags":["arts_1118","arts_596","arts_769","arts_2887"],"featImg":"arts_13825989","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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