Bill Seeking to Improve Pay for a More Diverse CA Arts Workforce Lands on Governor's Desk
Supporters Rally Around New Deal Mural Threatened by UCSF Construction
Updated WPA-Style Art for a Green New Deal
'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural
WPA Models at Local Libraries Offer a Glimpse of San Francisco Last Seen in 1942
The Women Behind The Songs: Jessie Mae Robinson
Lost Mural by Secret Communist Unearthed in Richmond Basement
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In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.","avatar":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twitter":"sahotchkiss","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["Contributor","administrator"]},{"site":"artschool","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"spark","roles":["editor"]},{"site":"checkplease","roles":["editor"]}],"headData":{"title":"Sarah Hotchkiss | KQED","description":"Senior Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shotchkiss"},"gmeline":{"type":"authors","id":"185","meta":{"index":"authors_1591205172","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. 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He previously interned with \u003cem>The California Report\u003c/em> and KQED Local News\u003cem>.\u003c/em> Eli is also KALW's transportation reporter, and a graduate of KALW's \u003ca href=\"http://kalw.org/post/enrollment-now-open-kalws-audio-academy#stream/0\" target=\"_blank\" rel=\"noopener noreferrer\">Audio Academy.\u003c/a> Eli's work has been heard on NPR, Here & Now, and BackStory. 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FM","link":"/"}},"arts_13903132":{"type":"posts","id":"arts_13903132","meta":{"index":"posts_1591205157","site":"arts","id":"13903132","score":null,"sort":[1631813570000]},"guestAuthors":[],"slug":"bill-seeking-to-improve-pay-for-a-more-diverse-ca-arts-workforce-lands-on-governors-desk","title":"Bill Seeking to Improve Pay for a More Diverse CA Arts Workforce Lands on Governor's Desk","publishDate":1631813570,"format":"audio","headTitle":"Bill Seeking to Improve Pay for a More Diverse CA Arts Workforce Lands on Governor’s Desk | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB628\" target=\"_blank\" rel=\"noopener noreferrer\">statewide bill\u003c/a> seeking to diversify California’s arts and culture workforce and provide jobs that pay a living wage to keep creative sector workers in expensive locales like the Bay Area has landed on the governor’s desk after winning near-unanimous support in the Assembly and Senate.\u003c/p>\n\u003cp>Introduced by \u003ca href=\"https://sd26.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Senator Ben Allen\u003c/a> in the spring, the \u003ca href=\"https://static1.squarespace.com/static/5bc6c7a1c46f6d1ef38d6771/t/61253e1fd7ab280c0eaa7719/1629830696673/CFTA_SB628_info.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Workforce Act\u003c/a> (SB628) is the first legislation of its kind in the country.\u003c/p>\n\u003cp>“The purpose of the act would be to establish creative arts workforce development as a state priority and to promote employment and ‘earn and learn,’ as defined, job training opportunities for creative workers, among other things,” the bill language states.\u003c/p>\n\u003cp>If Governor Gavin Newsom signs SB628 into law—he has until Oct. 10 to approve or veto it—it could eventually mean more career opportunities for Californians who might otherwise feel excluded from pursuing arts and culture careers because of financial or other constraints, and allow creative sector employers to employ arts professionals and pay them a living wage.\u003c/p>\n\u003cp>“The fact that the California State Assembly and Senate both really see the need for developing our creative artistic workforce, I think it’s fantastic,” says \u003ca href=\"https://mosaicamerica.org/usha-srinivasan/\" target=\"_blank\" rel=\"noopener noreferrer\">Usha Srinivasan\u003c/a>, co-founder and president of \u003ca href=\"https://mosaicamerica.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic America\u003c/a>, a South Bay arts nonprofit that presents inter-cultural events.\u003c/p>\n\u003cfigure id=\"attachment_13903215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Folclórico Colibri, Xpressions, and Hālau Nāpuaokamokihanaoha — some of the groups appearing in the upcoming Mosaic Festival in San Jose. Mosaic America, the small South Bay non-profit which produces the event, says the new legislation would help it provide jobs and training opportunities which it currently cannot afford to do. \u003ccite>(WeSparq.co)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Srinivasan says her small, grassroots arts group relies heavily on a volunteer workforce to produce programming like the upcoming \u003ca href=\"https://mosaicamerica.org/festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic Festival\u003c/a>, an all-day event on Oct. 2 in San Jose featuring performances, workshops, exhibitions and food from many of the different cultures that make up Silicon Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“W\u003cb>\u003c/b>e don’t have the money as a small community-based nonprofit dealing predominantly in communities of color to be able to hire workers,” Srinivasan says. “So what that legislation potentially could do is help organizations like ours that would love to have people we’re able to pay, as well as people we can train.”\u003c/p>\n\u003ch2>A Sector Under Siege\u003c/h2>\n\u003cp>According to the \u003ca href=\"https://nasaa-arts.org/nasaa_research/creative-economy-state-profiles/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a>, California’s creative sector contributes more than $230 billion dollars—or 25%—of the country’s entire creative economy. It represents nearly 8% of the Gross State Product (GSP), and nearly 800,000 jobs.\u003c/p>\n\u003cfigure id=\"attachment_13903218\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903218\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg\" alt=\"\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1536x728.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slide from Otis College of Art and Design’s “2020 COVID-19 Economic Impact on the California Creative Economy” study. \u003ccite>(Otis College of Art and Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the devastating effects of COVID-19 on the cultural industries have made this new legislation a matter of urgency, say the bill’s proponents. According to a \u003ca href=\"https://www.otis.edu/creative-economy/2021\" target=\"_blank\" rel=\"noopener noreferrer\">recent report\u003c/a> by the \u003ca href=\"https://www.otis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Otis College of Art and Design\u003c/a>, the pandemic impacted more than 500,000 creative sector jobs around the state in 2020, and caused a creative economy output loss in excess of $140 billion over the year.\u003c/p>\n\u003cp>“We know that COVID-19 has disproportionately affected the creative arts, and this is a way to establish a long-term solution and try to support them with funding,” the bill’s co-author, \u003ca href=\"https://sd22.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Susan Rubio\u003c/a>, told KQED.\u003c/p>\n\u003cp>“It’s clear that we’ve got to make sure that that workforce is maintained in this state, and grows, finally getting rid of the ‘starving artist’ paradigm.” says \u003ca href=\"https://www.californiansforthearts.org/staff-board\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Baker\u003c/a>, executive director of \u003ca href=\"https://www.californiansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Californians for the Arts\u003c/a> and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://californiaartsadvocates.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Arts Advocates,\u003c/a> the latter of which co-sponsored the bill. “We’ve\u003c/span> also got to make sure the workforce matches who actually is in this state in terms of diversifying the workforce.”\u003c/p>\n\u003ch2>Current and Historic Parallels\u003c/h2>\n\u003cp>The California Creative Workforce Act is novel because there has never before been workforce legislation created at the statewide level specifically targeting the creative sector.\u003c/p>\n\u003cp>But there are other initiatives in process in California and around the country right now seeking to put jobs in artists hands. In May, \u003ca href=\"https://lieu.house.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Congressman Ted Lieu\u003c/a> introduced the \u003ca href=\"https://lieu.house.gov/media-center/press-releases/reps-lieu-and-leger-fernandez-introduce-21st-century-federal-writers\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century Federal Writers’ Project\u003c/a>, a federal bill calling for a revamp of the Depression-era program that provided jobs to out-of-work writers. Meanwhile the \u003ca href=\"https://esd.dof.ca.gov/Documents/bcp/2122/FY2122_ORG8260_BCP4748.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Corps Pilot Program\u003c/a>, included in Governor Newsom’s California Comeback Plan, provides $60 million in funding to the \u003ca href=\"https://arts.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a> to put artists around the state to work on public health messaging around COVID-19.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"1934: A New Deal for Artists\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/vG4fqOaoRKs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>SB628 also has roots in two \u003cspan style=\"font-weight: 400\">historic federal initiatives: The Works Progress Administration’s (WPA’s) \u003ca href=\"https://www.loc.gov/rr/program/bib/newdeal/fap.html\" target=\"_blank\" rel=\"noopener noreferrer\">Federal Art Project\u003c/a>, which successfully put thousands of artists to work during the Great Depression, and the lesser known \u003ca href=\"http://ceta-arts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comprehensive Employment and Training Act\u003c/a> (CETA), which provided full-time employment and training for more than 10,000 artists and 10,000 arts support staff from 1974-1980.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Repertory Theater\u003c/a> managing director \u003ca href=\"https://www.berkeleyrep.org/about/who-we-are/\" target=\"_blank\" rel=\"noopener noreferrer\">Susie Medak\u003c/a> says she owes her career in the arts to the training she got as a result of CETA.\u003c/p>\n\u003cp>“Many of us boomers, who began working in the ’60s and early ’70s, we all we all got hired because of the CETA grants,” Medak says. She adds that, early in her career, she was able to hire trainees through the program. “The point was that there was money there to take a gamble on people who had potential or interest and no skill. And the job of the organization was to train them,” Medak says.\u003c/p>\n\u003ch2>Diversifying the Talent Pipeline\u003c/h2>\n\u003cp>With a $20 million annual budget, Berkeley Rep is one of relatively few U.S. non-profit arts organizations to offer its own training program. Medak says the company’s training fellowships have been in effect since 1985, and 30 to 60 percent of the trainees have been from diverse backgrounds over the last 10 years.\u003c/p>\n\u003cp>“\u003cb>\u003c/b>20 to 30 percent of our workforce is people who we trained through that program,” Medak says. “S\u003cb>\u003c/b>o we know that we have we have a training model that works.”\u003c/p>\n\u003cp>She welcomes the new legislation as a pathway for more arts and culture organizations to diversify the talent pipeline. “\u003cb>\u003c/b>This is essential because what we know is one of the biggest barriers to young people of color being able to enter the arts is that entry level positions in this field tend to be very, very poorly compensated,” Medak says. “And so being able to minimize that as a barrier makes it possible for people to imagine that they can do this.”\u003c/p>\n\u003cp>The aspect of SB628 which seeks to earmark grants for creative sector employers to offer paid apprenticeships to Californians from diverse or low socioeconomic backgrounds also speaks to Stephen Ruby, co-owner of \u003ca href=\"https://www.merrittceramics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Merritt Ceramics\u003c/a>, a pottery studio in Oakland.\u003c/p>\n\u003cp>“It’s hard for us to find diversity, especially in our hiring, because so many of the experienced people in the area are the whiter demographic that’s predominant,” Ruby says.\u003c/p>\n\u003cp>Ruby’s business already saw modest gains from participating in a program in 2019 through the Bay Area youth job training nonprofit \u003ca href=\"https://www.newdoor.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Door Ventures\u003c/a>, which enabled it to provide a handful of short-term, paid apprenticeships to local, low-income high schoolers. Ruby says he ended up offering one talented trainee a proper job.\u003c/p>\n\u003cp>“Having more opportunity for that would certainly open the door, I would think, for enabling more people to enter this kind of field or this kind of community, even,” Ruby says.\u003c/p>\n\u003cp>\u003cstrong>Funding and Implementation Still Vague\u003c/strong>\u003c/p>\n\u003cp>However, Ruby isn’t clear on how the new bill will be funded, or if his for-profit business would even be eligible to receive grants.\u003c/p>\n\u003cp>“It still seems vague,” he says.\u003c/p>\n\u003cp>The few lawmakers who oppose the bill share these concerns.\u003c/p>\n\u003cp>“I support a thriving arts community in California,” \u003ca href=\"https://bates.cssrc.us/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Patricia Bates\u003c/a> said in a written statement emailed to KQED. “But I opposed SB628 because it does not specifically address who is eligible for the program, where the money will come from, and how that money will exactly be used.”\u003c/p>\n\u003cp>Senator Rubio says the legislation sets up the framework for the grant program, a crucial first step. If the governor signs the bill into law, she says the state’s Arts Council and \u003ca href=\"https://cwdb.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Workforce Development Board\u003c/a> will go ahead and create guidelines for the program. And then advocates will start to push for funding from the state budget to create a pilot grant program.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The funding, of course, is a concern,” Rubio says. “But I think before the funding comes, we need to establish the program.”\u003c/p>\n\n","blocks":[],"excerpt":"The California Creative Workforce Act is the first of its kind in the country. ","status":"publish","parent":0,"modified":1705007744,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1514},"headData":{"title":"Bill Seeking to Improve Pay for a More Diverse CA Arts Workforce Lands on Governor's Desk | KQED","description":"The California Creative Workforce Act is the first of its kind in the country. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bill Seeking to Improve Pay for a More Diverse CA Arts Workforce Lands on Governor's Desk","datePublished":"2021-09-16T17:32:50.000Z","dateModified":"2024-01-11T21:15:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/2c889b3b-36ab-4fd7-8b61-ada50129c532/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903132/bill-seeking-to-improve-pay-for-a-more-diverse-ca-arts-workforce-lands-on-governors-desk","audioDuration":264000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB628\" target=\"_blank\" rel=\"noopener noreferrer\">statewide bill\u003c/a> seeking to diversify California’s arts and culture workforce and provide jobs that pay a living wage to keep creative sector workers in expensive locales like the Bay Area has landed on the governor’s desk after winning near-unanimous support in the Assembly and Senate.\u003c/p>\n\u003cp>Introduced by \u003ca href=\"https://sd26.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Senator Ben Allen\u003c/a> in the spring, the \u003ca href=\"https://static1.squarespace.com/static/5bc6c7a1c46f6d1ef38d6771/t/61253e1fd7ab280c0eaa7719/1629830696673/CFTA_SB628_info.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Workforce Act\u003c/a> (SB628) is the first legislation of its kind in the country.\u003c/p>\n\u003cp>“The purpose of the act would be to establish creative arts workforce development as a state priority and to promote employment and ‘earn and learn,’ as defined, job training opportunities for creative workers, among other things,” the bill language states.\u003c/p>\n\u003cp>If Governor Gavin Newsom signs SB628 into law—he has until Oct. 10 to approve or veto it—it could eventually mean more career opportunities for Californians who might otherwise feel excluded from pursuing arts and culture careers because of financial or other constraints, and allow creative sector employers to employ arts professionals and pay them a living wage.\u003c/p>\n\u003cp>“The fact that the California State Assembly and Senate both really see the need for developing our creative artistic workforce, I think it’s fantastic,” says \u003ca href=\"https://mosaicamerica.org/usha-srinivasan/\" target=\"_blank\" rel=\"noopener noreferrer\">Usha Srinivasan\u003c/a>, co-founder and president of \u003ca href=\"https://mosaicamerica.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic America\u003c/a>, a South Bay arts nonprofit that presents inter-cultural events.\u003c/p>\n\u003cfigure id=\"attachment_13903215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Folclórico Colibri, Xpressions, and Hālau Nāpuaokamokihanaoha — some of the groups appearing in the upcoming Mosaic Festival in San Jose. Mosaic America, the small South Bay non-profit which produces the event, says the new legislation would help it provide jobs and training opportunities which it currently cannot afford to do. \u003ccite>(WeSparq.co)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Srinivasan says her small, grassroots arts group relies heavily on a volunteer workforce to produce programming like the upcoming \u003ca href=\"https://mosaicamerica.org/festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic Festival\u003c/a>, an all-day event on Oct. 2 in San Jose featuring performances, workshops, exhibitions and food from many of the different cultures that make up Silicon Valley.\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>“W\u003cb>\u003c/b>e don’t have the money as a small community-based nonprofit dealing predominantly in communities of color to be able to hire workers,” Srinivasan says. “So what that legislation potentially could do is help organizations like ours that would love to have people we’re able to pay, as well as people we can train.”\u003c/p>\n\u003ch2>A Sector Under Siege\u003c/h2>\n\u003cp>According to the \u003ca href=\"https://nasaa-arts.org/nasaa_research/creative-economy-state-profiles/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a>, California’s creative sector contributes more than $230 billion dollars—or 25%—of the country’s entire creative economy. It represents nearly 8% of the Gross State Product (GSP), and nearly 800,000 jobs.\u003c/p>\n\u003cfigure id=\"attachment_13903218\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903218\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg\" alt=\"\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1536x728.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slide from Otis College of Art and Design’s “2020 COVID-19 Economic Impact on the California Creative Economy” study. \u003ccite>(Otis College of Art and Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the devastating effects of COVID-19 on the cultural industries have made this new legislation a matter of urgency, say the bill’s proponents. According to a \u003ca href=\"https://www.otis.edu/creative-economy/2021\" target=\"_blank\" rel=\"noopener noreferrer\">recent report\u003c/a> by the \u003ca href=\"https://www.otis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Otis College of Art and Design\u003c/a>, the pandemic impacted more than 500,000 creative sector jobs around the state in 2020, and caused a creative economy output loss in excess of $140 billion over the year.\u003c/p>\n\u003cp>“We know that COVID-19 has disproportionately affected the creative arts, and this is a way to establish a long-term solution and try to support them with funding,” the bill’s co-author, \u003ca href=\"https://sd22.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Susan Rubio\u003c/a>, told KQED.\u003c/p>\n\u003cp>“It’s clear that we’ve got to make sure that that workforce is maintained in this state, and grows, finally getting rid of the ‘starving artist’ paradigm.” says \u003ca href=\"https://www.californiansforthearts.org/staff-board\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Baker\u003c/a>, executive director of \u003ca href=\"https://www.californiansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Californians for the Arts\u003c/a> and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://californiaartsadvocates.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Arts Advocates,\u003c/a> the latter of which co-sponsored the bill. “We’ve\u003c/span> also got to make sure the workforce matches who actually is in this state in terms of diversifying the workforce.”\u003c/p>\n\u003ch2>Current and Historic Parallels\u003c/h2>\n\u003cp>The California Creative Workforce Act is novel because there has never before been workforce legislation created at the statewide level specifically targeting the creative sector.\u003c/p>\n\u003cp>But there are other initiatives in process in California and around the country right now seeking to put jobs in artists hands. In May, \u003ca href=\"https://lieu.house.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Congressman Ted Lieu\u003c/a> introduced the \u003ca href=\"https://lieu.house.gov/media-center/press-releases/reps-lieu-and-leger-fernandez-introduce-21st-century-federal-writers\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century Federal Writers’ Project\u003c/a>, a federal bill calling for a revamp of the Depression-era program that provided jobs to out-of-work writers. Meanwhile the \u003ca href=\"https://esd.dof.ca.gov/Documents/bcp/2122/FY2122_ORG8260_BCP4748.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Corps Pilot Program\u003c/a>, included in Governor Newsom’s California Comeback Plan, provides $60 million in funding to the \u003ca href=\"https://arts.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a> to put artists around the state to work on public health messaging around COVID-19.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"1934: A New Deal for Artists\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/vG4fqOaoRKs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>SB628 also has roots in two \u003cspan style=\"font-weight: 400\">historic federal initiatives: The Works Progress Administration’s (WPA’s) \u003ca href=\"https://www.loc.gov/rr/program/bib/newdeal/fap.html\" target=\"_blank\" rel=\"noopener noreferrer\">Federal Art Project\u003c/a>, which successfully put thousands of artists to work during the Great Depression, and the lesser known \u003ca href=\"http://ceta-arts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comprehensive Employment and Training Act\u003c/a> (CETA), which provided full-time employment and training for more than 10,000 artists and 10,000 arts support staff from 1974-1980.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Repertory Theater\u003c/a> managing director \u003ca href=\"https://www.berkeleyrep.org/about/who-we-are/\" target=\"_blank\" rel=\"noopener noreferrer\">Susie Medak\u003c/a> says she owes her career in the arts to the training she got as a result of CETA.\u003c/p>\n\u003cp>“Many of us boomers, who began working in the ’60s and early ’70s, we all we all got hired because of the CETA grants,” Medak says. She adds that, early in her career, she was able to hire trainees through the program. “The point was that there was money there to take a gamble on people who had potential or interest and no skill. And the job of the organization was to train them,” Medak says.\u003c/p>\n\u003ch2>Diversifying the Talent Pipeline\u003c/h2>\n\u003cp>With a $20 million annual budget, Berkeley Rep is one of relatively few U.S. non-profit arts organizations to offer its own training program. Medak says the company’s training fellowships have been in effect since 1985, and 30 to 60 percent of the trainees have been from diverse backgrounds over the last 10 years.\u003c/p>\n\u003cp>“\u003cb>\u003c/b>20 to 30 percent of our workforce is people who we trained through that program,” Medak says. “S\u003cb>\u003c/b>o we know that we have we have a training model that works.”\u003c/p>\n\u003cp>She welcomes the new legislation as a pathway for more arts and culture organizations to diversify the talent pipeline. “\u003cb>\u003c/b>This is essential because what we know is one of the biggest barriers to young people of color being able to enter the arts is that entry level positions in this field tend to be very, very poorly compensated,” Medak says. “And so being able to minimize that as a barrier makes it possible for people to imagine that they can do this.”\u003c/p>\n\u003cp>The aspect of SB628 which seeks to earmark grants for creative sector employers to offer paid apprenticeships to Californians from diverse or low socioeconomic backgrounds also speaks to Stephen Ruby, co-owner of \u003ca href=\"https://www.merrittceramics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Merritt Ceramics\u003c/a>, a pottery studio in Oakland.\u003c/p>\n\u003cp>“It’s hard for us to find diversity, especially in our hiring, because so many of the experienced people in the area are the whiter demographic that’s predominant,” Ruby says.\u003c/p>\n\u003cp>Ruby’s business already saw modest gains from participating in a program in 2019 through the Bay Area youth job training nonprofit \u003ca href=\"https://www.newdoor.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Door Ventures\u003c/a>, which enabled it to provide a handful of short-term, paid apprenticeships to local, low-income high schoolers. Ruby says he ended up offering one talented trainee a proper job.\u003c/p>\n\u003cp>“Having more opportunity for that would certainly open the door, I would think, for enabling more people to enter this kind of field or this kind of community, even,” Ruby says.\u003c/p>\n\u003cp>\u003cstrong>Funding and Implementation Still Vague\u003c/strong>\u003c/p>\n\u003cp>However, Ruby isn’t clear on how the new bill will be funded, or if his for-profit business would even be eligible to receive grants.\u003c/p>\n\u003cp>“It still seems vague,” he says.\u003c/p>\n\u003cp>The few lawmakers who oppose the bill share these concerns.\u003c/p>\n\u003cp>“I support a thriving arts community in California,” \u003ca href=\"https://bates.cssrc.us/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Patricia Bates\u003c/a> said in a written statement emailed to KQED. “But I opposed SB628 because it does not specifically address who is eligible for the program, where the money will come from, and how that money will exactly be used.”\u003c/p>\n\u003cp>Senator Rubio says the legislation sets up the framework for the grant program, a crucial first step. If the governor signs the bill into law, she says the state’s Arts Council and \u003ca href=\"https://cwdb.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Workforce Development Board\u003c/a> will go ahead and create guidelines for the program. And then advocates will start to push for funding from the state budget to create a pilot grant program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The funding, of course, is a concern,” Rubio says. “But I think before the funding comes, we need to establish the program.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903132/bill-seeking-to-improve-pay-for-a-more-diverse-ca-arts-workforce-lands-on-governors-desk","authors":["8608"],"categories":["arts_1","arts_235"],"tags":["arts_2552","arts_1237","arts_4027","arts_10328","arts_2653"],"featImg":"arts_13903219","label":"arts"},"arts_13884216":{"type":"posts","id":"arts_13884216","meta":{"index":"posts_1591205157","site":"arts","id":"13884216","score":null,"sort":[1596487144000]},"guestAuthors":[],"slug":"supporters-rally-around-new-deal-mural-threatened-by-ucsf-construction","title":"Supporters Rally Around New Deal Mural Threatened by UCSF Construction","publishDate":1596487144,"format":"standard","headTitle":"Supporters Rally Around New Deal Mural Threatened by UCSF Construction | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.[aside postID=\"news_11767493\"]\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Descendants of the artist and one of his subjects spoke to the importance of preserving Bernard Zakheim's depiction of California history.","status":"publish","parent":0,"modified":1705020340,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":928},"headData":{"title":"Supporters Rally Around New Deal Mural Threatened by UCSF Construction | KQED","description":"Descendants of the artist and one of his subjects spoke to the importance of preserving Bernard Zakheim's depiction of California history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Supporters Rally Around New Deal Mural Threatened by UCSF Construction","datePublished":"2020-08-03T20:39:04.000Z","dateModified":"2024-01-12T00:45:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13884216/supporters-rally-around-new-deal-mural-threatened-by-ucsf-construction","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11767493","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\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>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13884216/supporters-rally-around-new-deal-mural-threatened-by-ucsf-construction","authors":["11659"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_10278","arts_2640","arts_1737","arts_2653"],"featImg":"arts_13884219","label":"arts"},"arts_13876083":{"type":"posts","id":"arts_13876083","meta":{"index":"posts_1591205157","site":"arts","id":"13876083","score":null,"sort":[1583521652000]},"guestAuthors":[],"slug":"updated-wpa-style-art-for-a-green-new-deal","title":"Updated WPA-Style Art for a Green New Deal","publishDate":1583521652,"format":"standard","headTitle":"Updated WPA-Style Art for a Green New Deal | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>You’ve probably been hearing the words “Green New Deal” in this election cycle. The term describes a series of policy changes and legislation to address the climate crisis, modeled loosely on President Roosevelt’s New Deal of the 1930s that helped pull the country out of the Great Depression. \u003c/p>\n\u003cp>One thing Roosevelt’s New Deal did was to pay artists to create murals and prints promoting civic engagement, public health, education and the arts. Some of those murals still live today in San Francisco: in the lobby of \u003ca href=\"https://livingnewdeal.org/tag/coit-tower/\" rel=\"noopener noreferrer\" target=\"_blank\">Coit Tower\u003c/a>, as just one example, or at the old \u003ca href=\"https://livingnewdeal.org/projects/rincon-center-murals-san-francisco-ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Rincon Annex Post Office\u003c/a>.\u003c/p>\n\u003cp>Now, artists have brought the Green New Deal to colorful life in a new exhibition of art in San Francisco. Some of it looks like the WPA style of New Deal murals, some like Victory Garden posters, some like war bonds advertisements. But instead, it promotes a more responsible approach to climate, renewable energy, and green jobs. The exhibition runs through March, with special events and panels every Friday, at Canessa Gallery in the North Beach neighborhood of San Francisco. \u003ca href=\"https://www.facebook.com/events/113220906785839/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Renewable energy, climate solutions and green jobs are the subject of a gallery exhibit in San Francisco.","status":"publish","parent":0,"modified":1705021149,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":195},"headData":{"title":"Updated WPA-Style Art for a Green New Deal | KQED","description":"Renewable energy, climate solutions and green jobs are the subject of a gallery exhibit in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Updated WPA-Style Art for a Green New Deal","datePublished":"2020-03-06T19:07:32.000Z","dateModified":"2024-01-12T00:59:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1583049600,"endTime":1585638000,"startTimeString":"March 1–31, 2020","venueName":"Canessa Gallery ","venueAddress":"708 Montgomery St., San Francisco","eventLink":"https://www.facebook.com/events/113220906785839/","path":"/arts/13876083/updated-wpa-style-art-for-a-green-new-deal","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably been hearing the words “Green New Deal” in this election cycle. The term describes a series of policy changes and legislation to address the climate crisis, modeled loosely on President Roosevelt’s New Deal of the 1930s that helped pull the country out of the Great Depression. \u003c/p>\n\u003cp>One thing Roosevelt’s New Deal did was to pay artists to create murals and prints promoting civic engagement, public health, education and the arts. Some of those murals still live today in San Francisco: in the lobby of \u003ca href=\"https://livingnewdeal.org/tag/coit-tower/\" rel=\"noopener noreferrer\" target=\"_blank\">Coit Tower\u003c/a>, as just one example, or at the old \u003ca href=\"https://livingnewdeal.org/projects/rincon-center-murals-san-francisco-ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Rincon Annex Post Office\u003c/a>.\u003c/p>\n\u003cp>Now, artists have brought the Green New Deal to colorful life in a new exhibition of art in San Francisco. Some of it looks like the WPA style of New Deal murals, some like Victory Garden posters, some like war bonds advertisements. But instead, it promotes a more responsible approach to climate, renewable energy, and green jobs. The exhibition runs through March, with special events and panels every Friday, at Canessa Gallery in the North Beach neighborhood of San Francisco. \u003ca href=\"https://www.facebook.com/events/113220906785839/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876083/updated-wpa-style-art-for-a-green-new-deal","authors":["185"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_2640","arts_1737","arts_2653"],"featImg":"arts_13876086","label":"arts_140"},"arts_13860237":{"type":"posts","id":"arts_13860237","meta":{"index":"posts_1591205157","site":"arts","id":"13860237","score":null,"sort":[1561520944000]},"guestAuthors":[],"slug":"this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural","title":"'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural","publishDate":1561520944,"format":"standard","headTitle":"‘This Is Reparations:’ S.F. School Board Votes to Paint Over Controversial High School Mural | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Board of Education voted Tuesday to paint over a mural series showing George Washington as a slave owner and promoter of the United States’ genocidal westward expansion, acknowledging decades of complaints about the depiction of a dead Native American and enslaved African Americans inside George Washington High School.\u003c/p>\n\u003cp>The unanimous vote instructed district staff to develop a plan to paint over all 13 panels of Victor Arnautoff’s “Life of Washington” mural, which is expected to cost some $600,000 and take more than a year to implement. In the event of “undue delay,” according to the amended motion by commissioner Mark Sanchez, the school board retains the option of covering the mural temporarily with paneling.\u003c/p>\n\u003cp>“This is reparations,” Sanchez said, dismissing concerns about estimated costs.\u003c/p>\n\u003cp>It was a decisive moment in a protracted debate, one propelled by the nationwide referendum on public monuments to racism, that found the school board going above and beyond district staff’s recommendation to obscure the mural with fabric or paneling, and instead heeding community members’ demands to “paint it down.” [aside postID=news_11756796,arts_13854510]\u003c/p>\n\u003cp>Paloma Flores, program coordinator for the school district’s Indian Education Program, joined with local high school students, recent George Washington graduates and Native American parents to oppose the mural during public comment Tuesday. “It’s not a matter of offense, it’s a matter of the right to learn without a hostile environment,” Flores said. “Intent does not negate lived experience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plan is still contingent on an environmental impact report, and appeals or legal challenges are expected: Lope Yap Jr., vice president of the high school’s alumni association and an outspoken mural supporter, said the group will sue to halt the mural destruction.\u003c/p>\n\u003cp>“We’ll use every tactic available,” Yap Jr. said, adding that there are “several grounds” for litigation.\u003c/p>\n\u003cfigure id=\"attachment_13854565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-main-800x342.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13854565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-768x328.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(Courtesy George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnautoff, a Russian-born social realist, painted the 1,600 square-foot “Life of Washington” mural in 1936, showing the nation’s first president in various periods of his life. Two of the 13 panels are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another he directs white men with guns westward, over the body of an apparently slain Native American.\u003c/p>\n\u003cp>Asked if the board’s decision would apply to all or only parts of the mural, district spokesperson Laura Dudnick on Tuesday said “the options to cover the mural are for the entire mural.”\u003c/p>\n\u003cp>According to Arnautoff’s biographer Robert Cherny, the artist intended the mural as a “counter narrative,” or a corrective rebuke to the nation’s founding mythology. Supporters of the Works Progress Administration-funded frescoes cite the communist artist’s progressive motivations, decrying efforts to remove the artworks as censorship and a betrayal of history stemming from a lack of understanding and interpretative context.\u003c/p>\n\u003cp>“Political artworks like Arnautoff’s must not be confused with historic monuments such as Confederate statues, which are intended to send a clear racist message,” reads a recent statement from the National Coalition Against Censorship, echoing sentiments from New Deal scholars and Russian American organizations as well as local arts figures \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bay-area-art-leaders-on-censorship-of-george-washington-high-mural\">polled\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>However, critics of the artwork, a camp including many students and Native American parents, have recently, as well as in decades past, argued that the depictions of slain and enslaved people of color have no place in a school lobby. They believe the artist’s intentions are irrelevant in light of the harm to young people of color daily confronted by images of their ancestors debased.\u003c/p>\n\u003cp>“Kids don’t see these images as helpful or powerful, they see them as insulting and demeaning,” George Washington High School student Kai Anderson-Lawson, who is Native American, said at a June 18 school board meeting. The notion that young indigenous people are at risk of forgetting their own history, Anderson-Lawson added, is offensive: “Generational trauma follows us.”\u003c/p>\n\u003cp>Barbara Mumby-Huerta, a San Francisco Arts Commission staffer who is Native American, pointed out at the same meeting that, for all the talk of historical accuracy, the mural actually shows ignorance of indigenous cultures. “To portray a Native person face down, dead, you are trapping their soul so that they can not move on,” she said.\u003c/p>\n\u003cp>(The San Francisco Arts Commission has not officially taken a position on the mural’s removal.)\u003c/p>\n\u003cp>The demographics of the opposing camps seemed to influence the board’s decision to paint over the mural. School board member Gabriela López noted at the June 18 meeting that the mural supporters offering public comment skewed older and white, saying they generally weren’t “representative of the people affected.”\u003c/p>\n\u003cp>Although the controversy dates back to the 1960s, it escalated beginning in 2017 amid a nationwide referendum on public monuments, in particular Confederate statues, to racism and exploitation. That year a preservationist nonprofit recommended George Washington High School for landmark status, a process the school board scuttled out of reluctance to enshrine the mural.\u003c/p>\n\u003cp>For guidance, the district convened a Reflection and Action Group, which held four public meetings before approving, by a vote of 10-1, a recommendation this past February to paint over all thirteen panels of “Life of Washington.” The committee referenced Cherny’s interpretation of Arnautoff’s work when it wrote that the “impact of this mural is greater than what its intent ever was; it’s not counter narrative if it traumatizes students and community members.”\u003c/p>\n\u003cp>Yap Jr., the lone dissenting Reflection and Action Group member, said he’s disappointed the school board declined to further consider the alumni association’s proposal to provide more context for the mural, and accused his critics of incivility. “Anything less than whitewashing for the opposition would be a compromise,” he said.\u003c/p>\n\u003cp>It is a long-simmering issue: In 1968, according to the landmark application, George Washington High School students voted 61 percent in favor of supplementing the mural with positive depictions of black people. Daryl Thomas, then president of the Washington Afro-American club, called for “recognition of the great contributions of black people to the sciences and history.”\u003c/p>\n\u003cp>The Afro-American Club proposed that Dewey Crumpler, a young black artist, paint what has come to be known as the “response” mural. Crumpler’s “Multi-Ethnic Heritage: Black, Asian, Native/Latin American” works, completed in 1974, show empowered people of color rendered in a fiery, sunburst palette near the Arnautoff mural.\u003c/p>\n\u003cp>But Crumpler, now a painting professor at the San Francisco Art Institute, has emerged a seemingly unlikely champion of the mural that prompted his own. He recently appeared in a \u003ca href=\"https://www.youtube.com/watch?v=sZEMpyvdAXQ\">video\u003c/a> analyzing controversial imagery. “Without Arnautoff’s murals, my murals are irrelevant. And without my murals, Arnautoff’s murals are irrelevant,” he said. “They are one thing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Some of the same community members successfully campaigned for the \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">removal last year\u003c/a> of Civic Center Plaza statue “Early Days,” which critics also called historically inaccurate and degrading to Native Americans.\u003c/p>\n\n","blocks":[],"excerpt":"Victor Arnautoff painted the \"Life of Washington\" murals at George Washington High School in 1936. ","status":"publish","parent":0,"modified":1705022611,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1273},"headData":{"title":"'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural | KQED","description":"Victor Arnautoff painted the "Life of Washington" murals at George Washington High School in 1936. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural","datePublished":"2019-06-26T03:49:04.000Z","dateModified":"2024-01-12T01:23:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Education voted Tuesday to paint over a mural series showing George Washington as a slave owner and promoter of the United States’ genocidal westward expansion, acknowledging decades of complaints about the depiction of a dead Native American and enslaved African Americans inside George Washington High School.\u003c/p>\n\u003cp>The unanimous vote instructed district staff to develop a plan to paint over all 13 panels of Victor Arnautoff’s “Life of Washington” mural, which is expected to cost some $600,000 and take more than a year to implement. In the event of “undue delay,” according to the amended motion by commissioner Mark Sanchez, the school board retains the option of covering the mural temporarily with paneling.\u003c/p>\n\u003cp>“This is reparations,” Sanchez said, dismissing concerns about estimated costs.\u003c/p>\n\u003cp>It was a decisive moment in a protracted debate, one propelled by the nationwide referendum on public monuments to racism, that found the school board going above and beyond district staff’s recommendation to obscure the mural with fabric or paneling, and instead heeding community members’ demands to “paint it down.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11756796,arts_13854510","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Paloma Flores, program coordinator for the school district’s Indian Education Program, joined with local high school students, recent George Washington graduates and Native American parents to oppose the mural during public comment Tuesday. “It’s not a matter of offense, it’s a matter of the right to learn without a hostile environment,” Flores said. “Intent does not negate lived experience.”\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 plan is still contingent on an environmental impact report, and appeals or legal challenges are expected: Lope Yap Jr., vice president of the high school’s alumni association and an outspoken mural supporter, said the group will sue to halt the mural destruction.\u003c/p>\n\u003cp>“We’ll use every tactic available,” Yap Jr. said, adding that there are “several grounds” for litigation.\u003c/p>\n\u003cfigure id=\"attachment_13854565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-main-800x342.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13854565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-768x328.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(Courtesy George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnautoff, a Russian-born social realist, painted the 1,600 square-foot “Life of Washington” mural in 1936, showing the nation’s first president in various periods of his life. Two of the 13 panels are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another he directs white men with guns westward, over the body of an apparently slain Native American.\u003c/p>\n\u003cp>Asked if the board’s decision would apply to all or only parts of the mural, district spokesperson Laura Dudnick on Tuesday said “the options to cover the mural are for the entire mural.”\u003c/p>\n\u003cp>According to Arnautoff’s biographer Robert Cherny, the artist intended the mural as a “counter narrative,” or a corrective rebuke to the nation’s founding mythology. Supporters of the Works Progress Administration-funded frescoes cite the communist artist’s progressive motivations, decrying efforts to remove the artworks as censorship and a betrayal of history stemming from a lack of understanding and interpretative context.\u003c/p>\n\u003cp>“Political artworks like Arnautoff’s must not be confused with historic monuments such as Confederate statues, which are intended to send a clear racist message,” reads a recent statement from the National Coalition Against Censorship, echoing sentiments from New Deal scholars and Russian American organizations as well as local arts figures \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bay-area-art-leaders-on-censorship-of-george-washington-high-mural\">polled\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>However, critics of the artwork, a camp including many students and Native American parents, have recently, as well as in decades past, argued that the depictions of slain and enslaved people of color have no place in a school lobby. They believe the artist’s intentions are irrelevant in light of the harm to young people of color daily confronted by images of their ancestors debased.\u003c/p>\n\u003cp>“Kids don’t see these images as helpful or powerful, they see them as insulting and demeaning,” George Washington High School student Kai Anderson-Lawson, who is Native American, said at a June 18 school board meeting. The notion that young indigenous people are at risk of forgetting their own history, Anderson-Lawson added, is offensive: “Generational trauma follows us.”\u003c/p>\n\u003cp>Barbara Mumby-Huerta, a San Francisco Arts Commission staffer who is Native American, pointed out at the same meeting that, for all the talk of historical accuracy, the mural actually shows ignorance of indigenous cultures. “To portray a Native person face down, dead, you are trapping their soul so that they can not move on,” she said.\u003c/p>\n\u003cp>(The San Francisco Arts Commission has not officially taken a position on the mural’s removal.)\u003c/p>\n\u003cp>The demographics of the opposing camps seemed to influence the board’s decision to paint over the mural. School board member Gabriela López noted at the June 18 meeting that the mural supporters offering public comment skewed older and white, saying they generally weren’t “representative of the people affected.”\u003c/p>\n\u003cp>Although the controversy dates back to the 1960s, it escalated beginning in 2017 amid a nationwide referendum on public monuments, in particular Confederate statues, to racism and exploitation. That year a preservationist nonprofit recommended George Washington High School for landmark status, a process the school board scuttled out of reluctance to enshrine the mural.\u003c/p>\n\u003cp>For guidance, the district convened a Reflection and Action Group, which held four public meetings before approving, by a vote of 10-1, a recommendation this past February to paint over all thirteen panels of “Life of Washington.” The committee referenced Cherny’s interpretation of Arnautoff’s work when it wrote that the “impact of this mural is greater than what its intent ever was; it’s not counter narrative if it traumatizes students and community members.”\u003c/p>\n\u003cp>Yap Jr., the lone dissenting Reflection and Action Group member, said he’s disappointed the school board declined to further consider the alumni association’s proposal to provide more context for the mural, and accused his critics of incivility. “Anything less than whitewashing for the opposition would be a compromise,” he said.\u003c/p>\n\u003cp>It is a long-simmering issue: In 1968, according to the landmark application, George Washington High School students voted 61 percent in favor of supplementing the mural with positive depictions of black people. Daryl Thomas, then president of the Washington Afro-American club, called for “recognition of the great contributions of black people to the sciences and history.”\u003c/p>\n\u003cp>The Afro-American Club proposed that Dewey Crumpler, a young black artist, paint what has come to be known as the “response” mural. Crumpler’s “Multi-Ethnic Heritage: Black, Asian, Native/Latin American” works, completed in 1974, show empowered people of color rendered in a fiery, sunburst palette near the Arnautoff mural.\u003c/p>\n\u003cp>But Crumpler, now a painting professor at the San Francisco Art Institute, has emerged a seemingly unlikely champion of the mural that prompted his own. He recently appeared in a \u003ca href=\"https://www.youtube.com/watch?v=sZEMpyvdAXQ\">video\u003c/a> analyzing controversial imagery. “Without Arnautoff’s murals, my murals are irrelevant. And without my murals, Arnautoff’s murals are irrelevant,” he said. “They are one thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same community members successfully campaigned for the \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">removal last year\u003c/a> of Civic Center Plaza statue “Early Days,” which critics also called historically inaccurate and degrading to Native Americans.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural","authors":["11091"],"categories":["arts_835","arts_235","arts_70"],"tags":["arts_7573","arts_1118","arts_9159","arts_7723","arts_901","arts_2653"],"featImg":"arts_13854564","label":"arts"},"arts_13855632":{"type":"posts","id":"arts_13855632","meta":{"index":"posts_1591205157","site":"arts","id":"13855632","score":null,"sort":[1556046037000]},"guestAuthors":[],"slug":"will-we-get-to-see-the-whole-of-san-francisco-wpa-models-leave-libraries-soon","title":"WPA Models at Local Libraries Offer a Glimpse of San Francisco Last Seen in 1942","publishDate":1556046037,"format":"standard","headTitle":"WPA Models at Local Libraries Offer a Glimpse of San Francisco Last Seen in 1942 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The San Francisco Public Library contains multitudes. Yes, books. But also e-books, audiobooks, \u003ca href=\"https://sfpl.bibliocommons.com/list/share/1113563567/1113823507\" target=\"_blank\" rel=\"noopener\">vinyl records\u003c/a>, DVDs, \u003ca href=\"https://sfpl.libanswers.com/faq/206281\" target=\"_blank\" rel=\"noopener\">video streaming services\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000812701\" target=\"_blank\" rel=\"noopener\">museum passes\u003c/a> available for checkout, \u003ca href=\"https://sfpl.libanswers.com/faq/133417\" target=\"_blank\" rel=\"noopener\">laptops\u003c/a> available for checkout, \u003ca href=\"https://sfpl.org/index.php?pg=2000642601\" target=\"_blank\" rel=\"noopener\">private study rooms\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000002901\" target=\"_blank\" rel=\"noopener\">public meeting rooms\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000182101\" target=\"_blank\" rel=\"noopener\">exhibitions\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=0200002501\" target=\"_blank\" rel=\"noopener\">historical documents\u003c/a> and \u003ca href=\"https://sfpl.org/index.php?pg=0200000301\" target=\"_blank\" rel=\"noopener\">photographs\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000669901\" target=\"_blank\" rel=\"noopener\">homework help\u003c/a> for kids and teens—the list of free and accessible resources goes on and on.\u003c/p>\n\u003cp>(Those are just some of the many reasons why the San Francisco Public Library received the prestigious “\u003ca href=\"https://sfpl.org/releases/2018/06/05/san-francisco-public-library-wins-library-of-the-year-award-sfpl-honored-with-the-most-prestigious-library-award-in-the-country/\" target=\"_blank\" rel=\"noopener\">Library of the Year\u003c/a>” designation in 2018.)\u003c/p>\n\u003cp>Over the past few months, along with all of the above, you may have noticed a curious addition to your local branch: a scale model, meticulously hand-painted and labelled, showing a bird’s-eye view of the surrounding neighborhood as it stood eight decades ago.\u003c/p>\n\u003cp>These displays—there’s one at the Main Branch, at each of the 27 neighborhood branches and the temporary SFMOMA branch—are sections of a 1,000-square-foot model of San Francisco created by the Works Progress Administration (WPA) between 1938 and 1940. And the reason they’re here now is as part of a project punnily titled \u003ci>\u003ca href=\"https://publicknowledge.sfmoma.org/take-part/\" target=\"_blank\" rel=\"noopener\">Take Part\u003c/a>\u003c/i>, by the collaborative Bik Van der Pol (Rotterdam-based artists Liesbeth Bik and Jos Van der Pol).\u003c/p>\n\u003cfigure id=\"attachment_13855635\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13855635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200.jpg\" alt=\"Unveiling of the scale model of San Francisco at City Hall, 1940; WPA, San Francisco Department of City Planning Records, San Francisco History Center.\" width=\"1200\" height=\"871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-1020x740.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Unveiling of the scale model of San Francisco at City Hall, 1940; WPA, San Francisco Department of City Planning Records, San Francisco History Center. \u003ccite>(Photo: San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally meant to be used as a city planning tool, the model was partially displayed during the 1939 Golden Gate International Exposition and last seen in its entirety in 1942, when it was set up in San Francisco City Hall. Then it was packed away in parts by UC Berkeley, with some of the sections remaining in use to evaluate proposed developments in downtown San Francisco. \u003ci>Take Part\u003c/i>, a joint project of SFMOMA and the SFPL, brought the model back into the public eye in late January with talks, screenings, craft projects, history nights and other events to engage locals in conversations about the past, present and future of their neighborhoods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, with only a few days left on view (the models remain at the libraries until April 28), the original question posed by \u003ci>Take Part\u003c/i> remains: “Is there room for San Francisco in San Francisco?” Put another way, is there room for history, meticulous craft and contemplation of our physical surroundings in one of the most expensive real estate markets in the world?\u003c/p>\n\u003cp>Displaying the model in its entirety is not an impossibility. There’s precedent: The Queens Museum houses the \u003ci>\u003ca href=\"https://queensmuseum.org/2013/10/panorama-of-the-city-of-new-york\" target=\"_blank\" rel=\"noopener\">Panorama of the City of New York\u003c/a>\u003c/i>, a detailed scale model of the city’s five boroughs built for the 1964–65 World’s Fair. Closer to home, Sausalito’s \u003ca href=\"https://www.spn.usace.army.mil/missions/recreation/bay-model-visitor-center/\" target=\"_blank\" rel=\"noopener\">Bay Model\u003c/a> boasts a working hydraulic system of the San Francisco Bay and Sacramento–San Joaquin River Delta waterways.\u003c/p>\n\u003cp>A \u003ca href=\"https://actionnetwork.org/petitions/making-room-for-san-francisco-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> drafted by the project asks “organizations in San Francisco with room to fit a 1,000-square-foot model” to step up to the task as a form of public service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was built with public funds,” says Stella Lochman, senior program associate for public dialogue at SFMOMA, who shepherded \u003ci>Take Part\u003c/i> into being from its earliest days. “It belongs to the people of San Francisco.”\u003c/p>\n\n","blocks":[],"excerpt":"Don't miss what may be your only chance to see sections of a hand-painted scale model of the city, on view in each of San Francisco's libraries.","status":"publish","parent":0,"modified":1705026297,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":567},"headData":{"title":"WPA Models at Local Libraries Offer a Glimpse of San Francisco Last Seen in 1942 | KQED","description":"Don't miss what may be your only chance to see sections of a hand-painted scale model of the city, on view in each of San Francisco's libraries.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"WPA Models at Local Libraries Offer a Glimpse of San Francisco Last Seen in 1942","datePublished":"2019-04-23T19:00:37.000Z","dateModified":"2024-01-12T02:24:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13855632/will-we-get-to-see-the-whole-of-san-francisco-wpa-models-leave-libraries-soon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Public Library contains multitudes. Yes, books. But also e-books, audiobooks, \u003ca href=\"https://sfpl.bibliocommons.com/list/share/1113563567/1113823507\" target=\"_blank\" rel=\"noopener\">vinyl records\u003c/a>, DVDs, \u003ca href=\"https://sfpl.libanswers.com/faq/206281\" target=\"_blank\" rel=\"noopener\">video streaming services\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000812701\" target=\"_blank\" rel=\"noopener\">museum passes\u003c/a> available for checkout, \u003ca href=\"https://sfpl.libanswers.com/faq/133417\" target=\"_blank\" rel=\"noopener\">laptops\u003c/a> available for checkout, \u003ca href=\"https://sfpl.org/index.php?pg=2000642601\" target=\"_blank\" rel=\"noopener\">private study rooms\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000002901\" target=\"_blank\" rel=\"noopener\">public meeting rooms\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000182101\" target=\"_blank\" rel=\"noopener\">exhibitions\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=0200002501\" target=\"_blank\" rel=\"noopener\">historical documents\u003c/a> and \u003ca href=\"https://sfpl.org/index.php?pg=0200000301\" target=\"_blank\" rel=\"noopener\">photographs\u003c/a>, \u003ca href=\"https://sfpl.org/index.php?pg=2000669901\" target=\"_blank\" rel=\"noopener\">homework help\u003c/a> for kids and teens—the list of free and accessible resources goes on and on.\u003c/p>\n\u003cp>(Those are just some of the many reasons why the San Francisco Public Library received the prestigious “\u003ca href=\"https://sfpl.org/releases/2018/06/05/san-francisco-public-library-wins-library-of-the-year-award-sfpl-honored-with-the-most-prestigious-library-award-in-the-country/\" target=\"_blank\" rel=\"noopener\">Library of the Year\u003c/a>” designation in 2018.)\u003c/p>\n\u003cp>Over the past few months, along with all of the above, you may have noticed a curious addition to your local branch: a scale model, meticulously hand-painted and labelled, showing a bird’s-eye view of the surrounding neighborhood as it stood eight decades ago.\u003c/p>\n\u003cp>These displays—there’s one at the Main Branch, at each of the 27 neighborhood branches and the temporary SFMOMA branch—are sections of a 1,000-square-foot model of San Francisco created by the Works Progress Administration (WPA) between 1938 and 1940. And the reason they’re here now is as part of a project punnily titled \u003ci>\u003ca href=\"https://publicknowledge.sfmoma.org/take-part/\" target=\"_blank\" rel=\"noopener\">Take Part\u003c/a>\u003c/i>, by the collaborative Bik Van der Pol (Rotterdam-based artists Liesbeth Bik and Jos Van der Pol).\u003c/p>\n\u003cfigure id=\"attachment_13855635\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13855635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200.jpg\" alt=\"Unveiling of the scale model of San Francisco at City Hall, 1940; WPA, San Francisco Department of City Planning Records, San Francisco History Center.\" width=\"1200\" height=\"871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Unveiling-of-the-scale-model-of-San-Francisco-at-City-Hall-1940_1200-1020x740.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Unveiling of the scale model of San Francisco at City Hall, 1940; WPA, San Francisco Department of City Planning Records, San Francisco History Center. \u003ccite>(Photo: San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally meant to be used as a city planning tool, the model was partially displayed during the 1939 Golden Gate International Exposition and last seen in its entirety in 1942, when it was set up in San Francisco City Hall. Then it was packed away in parts by UC Berkeley, with some of the sections remaining in use to evaluate proposed developments in downtown San Francisco. \u003ci>Take Part\u003c/i>, a joint project of SFMOMA and the SFPL, brought the model back into the public eye in late January with talks, screenings, craft projects, history nights and other events to engage locals in conversations about the past, present and future of their neighborhoods.\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>Now, with only a few days left on view (the models remain at the libraries until April 28), the original question posed by \u003ci>Take Part\u003c/i> remains: “Is there room for San Francisco in San Francisco?” Put another way, is there room for history, meticulous craft and contemplation of our physical surroundings in one of the most expensive real estate markets in the world?\u003c/p>\n\u003cp>Displaying the model in its entirety is not an impossibility. There’s precedent: The Queens Museum houses the \u003ci>\u003ca href=\"https://queensmuseum.org/2013/10/panorama-of-the-city-of-new-york\" target=\"_blank\" rel=\"noopener\">Panorama of the City of New York\u003c/a>\u003c/i>, a detailed scale model of the city’s five boroughs built for the 1964–65 World’s Fair. Closer to home, Sausalito’s \u003ca href=\"https://www.spn.usace.army.mil/missions/recreation/bay-model-visitor-center/\" target=\"_blank\" rel=\"noopener\">Bay Model\u003c/a> boasts a working hydraulic system of the San Francisco Bay and Sacramento–San Joaquin River Delta waterways.\u003c/p>\n\u003cp>A \u003ca href=\"https://actionnetwork.org/petitions/making-room-for-san-francisco-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> drafted by the project asks “organizations in San Francisco with room to fit a 1,000-square-foot model” to step up to the task as a form of public service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was built with public funds,” says Stella Lochman, senior program associate for public dialogue at SFMOMA, who shepherded \u003ci>Take Part\u003c/i> into being from its earliest days. “It belongs to the people of San Francisco.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13855632/will-we-get-to-see-the-whole-of-san-francisco-wpa-models-leave-libraries-soon","authors":["61"],"programs":["arts_140"],"categories":["arts_835","arts_70"],"tags":["arts_1118","arts_596","arts_1381","arts_7221","arts_2653"],"featImg":"arts_13855634","label":"arts_140"},"arts_13849918":{"type":"posts","id":"arts_13849918","meta":{"index":"posts_1591205157","site":"arts","id":"13849918","score":null,"sort":[1549062678000]},"guestAuthors":[],"slug":"the-women-behind-the-songs-jessie-mae-robinson","title":"The Women Behind The Songs: Jessie Mae Robinson","publishDate":1549062678,"format":"standard","headTitle":"The Women Behind The Songs: Jessie Mae Robinson | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Many may know \u003ca href=\"https://www.npr.org/artists/16302592/wanda-jackson\">Wanda Jackson\u003c/a>‘s 1960s hit “\u003ca href=\"https://www.youtube.com/watch?v=ip_rNAASt6I\">Let’s Have a Party\u003c/a>,” or even the versions performed by \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, but most will not recognize the name of the woman who wrote it: Jessie Mae Robinson.\u003c/p>\n\u003cp>Whether she was composing party songs or heartbreak songs, Robinson wrote with the concise, evocative language of a journalist. She gave her characters dignity no matter who they were or what they were doing.\u003c/p>\n\u003cp>Born in Texas in 1918 and raised in California, Robinson’s songs have been recorded by hundreds of artists, from \u003ca href=\"https://www.npr.org/artists/15404400/louis-jordan\">Louis Jordan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/145913023/lana-del-rey\">Lana Del Rey\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”wG4bQWyv4SVZes0v9saOts3pZRAiAmoW”]\u003c/p>\n\u003cp>Growing up in the Watts neighborhood of Los Angeles, Robinson found a supportive community, and plenty of opportunities to explore her creative interests. She became a champion tap dancer, competing at the old Largo Theater. As a teenager, she wrote a column for the \u003ca href=\"https://www.pbs.org/blackpress/news_bios/ca_eagle.html\">\u003cem>California Eagle\u003c/em>\u003c/a> newspaper. She earned an \u003ca href=\"https://www.actorsequity.org/join/\">Actors’ Equity\u003c/a> card, performing in WPA musicals like \u003cem>Show Boat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Robinson also had a penchant for making up melodies and writing poetry. She was encouraged to become a songwriter by neighborhood friend Joe Adams, who’d go on to manage \u003ca href=\"https://www.npr.org/artists/14951033/ray-charles\">Ray Charles\u003c/a> and Dootsie Williams. Williams owned a local studio, where Robinson got her songwriting start. She caught a break in 1945, when a young \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\">Dinah Washington\u003c/a> released “Mellow Mama Blues.”\u003c/p>\n\u003cp>Robinson was an African American woman working mostly on her own in the 1940s and 50s, but she challenged a music industry determined to pigeonhole her into writing only blues and R&B. She loved\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=103402874\"> Tin Pan Alley \u003c/a>and show tunes, and refused to be confined by genre.\u003c/p>\n\u003cp>[contextly_sidebar id=”ct1SmKSyDNDH3nDUThOhnHL6UQMjkK8m”]\u003c/p>\n\u003cp>In 1952, Robinson had her first pop music crossover success when \u003ca href=\"https://www.npr.org/sections/therecord/2013/01/03/168488929/patti-page-who-dominated-the-50s-pop-charts-dies\">Patti Page\u003c/a> recorded her song, “I Went To Your Wedding,” about watching the love of your life marry someone else.\u003c/p>\n\u003cp>A self-taught musician, Robinson wrote songs even when she had no access to an instrument. She’d hum melodies into a tape recorder, and scribble lyrics on random pieces of paper. She didn’t learn to drive until age 30, so early in her career, she’d take a bus to Hollywood, and have her songs transcribed onto sheet music that the studio musicians could read.\u003c/p>\n\u003cp>[contextly_sidebar id=”Nkp42ZQ5aAQPxYVtFnMbN4bi1oVEbWQc”]\u003c/p>\n\u003cp>In the early 1960s, Robinson started her own record labels, naming the first one after her daughter, June. Though she loved music, Robinson had grown tired of the industry. She was physically tired, too. Robinson’s health was in decline, and in 1966 she sought treatment for a chronic throat problem. The doctors suggested surgery, but she said no, fearful of permanently losing her voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Robinson died in 1966 at age 48, leaving behind a body of work that reflects who she was: soft-spoken yet self-possessed, imaginative and ambitious. She was a uniquely gifted composer with an eye for detail that most people overlook and the ability to pack so much emotion into just a few words.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Women+Behind+The+Songs%3A+Jessie+Mae+Robinson&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Born in Texas in 1918 and raised in California, Jessie Mae Robinson's songs have been recorded by hundreds of artists, from Louis Jordan to Lana Del Ray. ","status":"publish","parent":0,"modified":1705026665,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":531},"headData":{"title":"The Women Behind The Songs: Jessie Mae Robinson | KQED","description":"Born in Texas in 1918 and raised in California, Jessie Mae Robinson's songs have been recorded by hundreds of artists, from Louis Jordan to Lana Del Ray. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Women Behind The Songs: Jessie Mae Robinson","datePublished":"2019-02-01T23:11:18.000Z","dateModified":"2024-01-12T02:31:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Meredith Ochs","nprImageAgency":"Courtesy of the Robinson family","nprStoryId":"688199494","nprApiLink":"http://api.npr.org/query?id=688199494&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/01/31/688199494/the-women-behind-the-songs-jessie-mae-robinson?ft=nprml&f=688199494","nprRetrievedStory":"1","nprPubDate":"Thu, 31 Jan 2019 20:31:00 -0500","nprStoryDate":"Thu, 31 Jan 2019 16:31:00 -0500","nprLastModifiedDate":"Thu, 31 Jan 2019 20:31:09 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/01/20190131_atc_the_women_behind_the_songs_jessie_mae_robinson.mp3?orgId=1&topicId=1106&d=293&p=2&story=688199494&ft=nprml&f=688199494","nprAudioM3u":"http://api.npr.org/m3u/1690469006-b30651.m3u?orgId=1&topicId=1106&d=293&p=2&story=688199494&ft=nprml&f=688199494","audioTrackLength":294,"path":"/arts/13849918/the-women-behind-the-songs-jessie-mae-robinson","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/01/20190131_atc_the_women_behind_the_songs_jessie_mae_robinson.mp3?orgId=1&topicId=1106&d=293&p=2&story=688199494&ft=nprml&f=688199494","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many may know \u003ca href=\"https://www.npr.org/artists/16302592/wanda-jackson\">Wanda Jackson\u003c/a>‘s 1960s hit “\u003ca href=\"https://www.youtube.com/watch?v=ip_rNAASt6I\">Let’s Have a Party\u003c/a>,” or even the versions performed by \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, but most will not recognize the name of the woman who wrote it: Jessie Mae Robinson.\u003c/p>\n\u003cp>Whether she was composing party songs or heartbreak songs, Robinson wrote with the concise, evocative language of a journalist. She gave her characters dignity no matter who they were or what they were doing.\u003c/p>\n\u003cp>Born in Texas in 1918 and raised in California, Robinson’s songs have been recorded by hundreds of artists, from \u003ca href=\"https://www.npr.org/artists/15404400/louis-jordan\">Louis Jordan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/145913023/lana-del-rey\">Lana Del Rey\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Growing up in the Watts neighborhood of Los Angeles, Robinson found a supportive community, and plenty of opportunities to explore her creative interests. She became a champion tap dancer, competing at the old Largo Theater. As a teenager, she wrote a column for the \u003ca href=\"https://www.pbs.org/blackpress/news_bios/ca_eagle.html\">\u003cem>California Eagle\u003c/em>\u003c/a> newspaper. She earned an \u003ca href=\"https://www.actorsequity.org/join/\">Actors’ Equity\u003c/a> card, performing in WPA musicals like \u003cem>Show Boat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Robinson also had a penchant for making up melodies and writing poetry. She was encouraged to become a songwriter by neighborhood friend Joe Adams, who’d go on to manage \u003ca href=\"https://www.npr.org/artists/14951033/ray-charles\">Ray Charles\u003c/a> and Dootsie Williams. Williams owned a local studio, where Robinson got her songwriting start. She caught a break in 1945, when a young \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\">Dinah Washington\u003c/a> released “Mellow Mama Blues.”\u003c/p>\n\u003cp>Robinson was an African American woman working mostly on her own in the 1940s and 50s, but she challenged a music industry determined to pigeonhole her into writing only blues and R&B. She loved\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=103402874\"> Tin Pan Alley \u003c/a>and show tunes, and refused to be confined by genre.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 1952, Robinson had her first pop music crossover success when \u003ca href=\"https://www.npr.org/sections/therecord/2013/01/03/168488929/patti-page-who-dominated-the-50s-pop-charts-dies\">Patti Page\u003c/a> recorded her song, “I Went To Your Wedding,” about watching the love of your life marry someone else.\u003c/p>\n\u003cp>A self-taught musician, Robinson wrote songs even when she had no access to an instrument. She’d hum melodies into a tape recorder, and scribble lyrics on random pieces of paper. She didn’t learn to drive until age 30, so early in her career, she’d take a bus to Hollywood, and have her songs transcribed onto sheet music that the studio musicians could read.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the early 1960s, Robinson started her own record labels, naming the first one after her daughter, June. Though she loved music, Robinson had grown tired of the industry. She was physically tired, too. Robinson’s health was in decline, and in 1966 she sought treatment for a chronic throat problem. The doctors suggested surgery, but she said no, fearful of permanently losing her voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Robinson died in 1966 at age 48, leaving behind a body of work that reflects who she was: soft-spoken yet self-possessed, imaginative and ambitious. She was a uniquely gifted composer with an eye for detail that most people overlook and the ability to pack so much emotion into just a few words.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Women+Behind+The+Songs%3A+Jessie+Mae+Robinson&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849918/the-women-behind-the-songs-jessie-mae-robinson","authors":["byline_arts_13849918"],"categories":["arts_69","arts_1564"],"tags":["arts_6475","arts_2640","arts_1420","arts_596","arts_2653"],"affiliates":["arts_137"],"featImg":"arts_13849919","label":"arts_137"},"arts_13810033":{"type":"posts","id":"arts_13810033","meta":{"index":"posts_1591205157","site":"arts","id":"13810033","score":null,"sort":[1507122044000]},"guestAuthors":[],"slug":"richmond-mural-rediscovered","title":"Lost Mural by Secret Communist Unearthed in Richmond Basement","publishDate":1507122044,"format":"standard","headTitle":"Lost Mural by Secret Communist Unearthed in Richmond Basement | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener\">Richmond Museum of History\u003c/a> is a one-room gallery, housed in an old brick library. Just two part-time staff keep the doors open. One of them is Melinda McCrary, the museum’s director.\u003c/p>\n\u003cp>“I do everything,” says McCrary, shutting off the hose in the front garden. “I take out the trash. I’m the main fundraiser. I do all the programming.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/WirtschafterMuralDiscovery.mp3\" /]\u003c/p>\n\u003cp>When McCrary came on board in 2014, she got to chatting with a long-time Richmond resident who asked, “‘Have you heard of this post office mural that has been lost?'”\u003c/p>\n\u003cp>He told her that the artist Victor Arnautoff — a protégé of Diego Rivera, and the lead artist for the murals inside the lobby of Coit Tower — had painted a beautiful mural on a canvas the size of the side of a U-Haul trailer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For 35 years, it was displayed over the postmaster’s window at Richmond’s main post office.\u003c/p>\n\u003cp>But the mural was taken down during a renovation in 1976. “It was just forgotten,” says McCrary. “It just got lost in the shuffle.”\u003c/p>\n\u003cp>She decided she had to find it.\u003c/p>\n\u003cfigure id=\"attachment_13810140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary, director of the Richmond Museum of History, points to where the mural once adorned Richmond’s main post office. \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A snapshot of Richmond before the war\u003c/h2>\n\u003cp>Arnautoff painted his mural in 1941, just months before the U.S. entered World War II, and Richmond transformed into an epicenter for wartime ship building.\u003c/p>\n\u003cp>Historian Robert Cherny, an emeritus professor at San Francisco State University (SFSU), says Arnautoff followed a process he used for other post office murals in the New Deal era: He started by talking to locals.\u003c/p>\n\u003cp>“Arnautoff talked to the local postmaster, the local newspaper editor,” Cherny says. “He walked around the streets.”\u003c/p>\n\u003cfigure id=\"attachment_13810153\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg\" alt=\"\" width=\"250\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-768x1089.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1180x1673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-960x1361.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image.jpg 1311w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">A local newspaper clipping from when the mural was first installed in 1941. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Richmond captured on canvas is a quiet town on its way to becoming an industrial city. There’s a woman in a yellow dress, buying fruit. There’s a boy with his bicycle. In the background, a freight train passes by oil tanks and a refinery spouting black smoke.\u003c/p>\n\u003cp>Arnautoff, who at that time was a secret member of the Communist party, dropped subtle political messages into his mural. He depicts four dock workers on their (union-guaranteed) lunch break, discussing the news of the day.\u003c/p>\n\u003cp>Catherine Powell, director of the Labor Archives and Research Center at SFSU noticed that two of the workers have round pins on their hats, indicating membership of the longshoremen’s union.\u003c/p>\n\u003cp>And one of the four is black — a significant gesture at a time when African-Americans made up just 1% of the city’s population.\u003c/p>\n\u003cp>Cherny says the local longshoremen’s union was one of the first to promote an a racially integrated workforce. The union “stood for the equality of all of its workers,” Cherny says.\u003c/p>\n\u003cfigure id=\"attachment_13810143\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historians Catherine Powell and Robert Cherny with a life-size reproduction of the mural at San Francisco State University \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Into the basement\u003c/h2>\n\u003cp>When McCrary asked postal employees about the mural, they hadn’t heard of it, and they wouldn’t let her conduct a search for the long lost work around their building.\u003c/p>\n\u003cp>So she asked a member of her board to help — a former city council member who happened to know Richmond’s former postmaster. The former postmaster knew a janitor who worked at the post office. And the janitor agreed to look for the mural.\u003c/p>\n\u003cp>One day, after the post office closed, the janitor let McCrary into the basement.\u003c/p>\n\u003cp>“It was totally sneaky,” McCrary says. “I was not supposed to be down there.”\u003c/p>\n\u003cp>Deep underground, he opened a pair of double doors to a small dusty room. There was only one thing in the room: a large, wooden crate with a handwritten label that said “Victor Arnotoff” [sic].\u003c/p>\n\u003cfigure id=\"attachment_13810152\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg\" alt=\"\" width=\"250\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-520x732.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The label on the crate from when the mural was removed in 1976. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary couldn’t verify that the mural was in the box, let alone run off with it. She had to spend a year persuading the postal service to approve a loan to her museum.\u003c/p>\n\u003cp>Then, just weeks after the deal was signed, McCrary found out that the basement of the post office was flooded.\u003c/p>\n\u003cp>She panicked, and rushed to the post office basement with a couple of art handlers. There, they saw a waterline six inches from the bottom of the crate.\u003c/p>\n\u003cp>“We were all convinced that the mural was ruined,” McCrary says.\u003c/p>\n\u003cp>They whisked the crate out of the post office, pried it open with a crowbar, and discovered that the mural had been stored on a set of stilts.\u003c/p>\n\u003cp>“It was an absolutely exhilarating feeling to know that it didn’t get wet,” McCrary says.\u003c/p>\n\u003cp>A life-size reproduction of the mural is now \u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\">on exhibit at SFSU\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary with the mural, now in storage at the Richmond Museum of History \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary is trying to raise funds to restore the original painting, which is wrinkled and has bits of lead-based adhesive stuck to it. Nathan Zakheim, the same art preservationist who took down the mural in 1976, may be the one to restore it.\u003c/p>\n\u003cp>McCrary hopes to display the restored original at the Richmond Museum of History, located just a few blocks away from the post office. “I want to put the Richmond museum on the map,” McCrary says.\u003c/p>\n\u003cp>For now, the mural is wrapped up in plastic at the museum — in a basement.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>\u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\" target=\"_blank\" rel=\"noopener\">\u003cem>Victor Arnautoff and the Politics of Art\u003c/em>\u003c/a> runs through Tuesday, Dec. 12 at the Labor Archives and Research Center at San Francisco State University.\u003c/p>\n\n","blocks":[],"excerpt":"The large-scale work by Diego Rivera protégé and lead Coit Tower muralist Victor Arnautoff shows his Communist leanings. No one knew its whereabouts for nearly 40 years.","status":"publish","parent":0,"modified":1705029417,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1030},"headData":{"title":"Lost Mural by Secret Communist Unearthed in Richmond Basement | KQED","description":"The large-scale work by Diego Rivera protégé and lead Coit Tower muralist Victor Arnautoff shows his Communist leanings. No one knew its whereabouts for nearly 40 years.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Lost Mural by Secret Communist Unearthed in Richmond Basement","datePublished":"2017-10-04T13:00:44.000Z","dateModified":"2024-01-12T03:16:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810033/richmond-mural-rediscovered","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener\">Richmond Museum of History\u003c/a> is a one-room gallery, housed in an old brick library. Just two part-time staff keep the doors open. One of them is Melinda McCrary, the museum’s director.\u003c/p>\n\u003cp>“I do everything,” says McCrary, shutting off the hose in the front garden. “I take out the trash. I’m the main fundraiser. I do all the programming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/WirtschafterMuralDiscovery.mp3","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When McCrary came on board in 2014, she got to chatting with a long-time Richmond resident who asked, “‘Have you heard of this post office mural that has been lost?'”\u003c/p>\n\u003cp>He told her that the artist Victor Arnautoff — a protégé of Diego Rivera, and the lead artist for the murals inside the lobby of Coit Tower — had painted a beautiful mural on a canvas the size of the side of a U-Haul trailer.\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>For 35 years, it was displayed over the postmaster’s window at Richmond’s main post office.\u003c/p>\n\u003cp>But the mural was taken down during a renovation in 1976. “It was just forgotten,” says McCrary. “It just got lost in the shuffle.”\u003c/p>\n\u003cp>She decided she had to find it.\u003c/p>\n\u003cfigure id=\"attachment_13810140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary, director of the Richmond Museum of History, points to where the mural once adorned Richmond’s main post office. \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A snapshot of Richmond before the war\u003c/h2>\n\u003cp>Arnautoff painted his mural in 1941, just months before the U.S. entered World War II, and Richmond transformed into an epicenter for wartime ship building.\u003c/p>\n\u003cp>Historian Robert Cherny, an emeritus professor at San Francisco State University (SFSU), says Arnautoff followed a process he used for other post office murals in the New Deal era: He started by talking to locals.\u003c/p>\n\u003cp>“Arnautoff talked to the local postmaster, the local newspaper editor,” Cherny says. “He walked around the streets.”\u003c/p>\n\u003cfigure id=\"attachment_13810153\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg\" alt=\"\" width=\"250\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-768x1089.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1180x1673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-960x1361.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image.jpg 1311w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">A local newspaper clipping from when the mural was first installed in 1941. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Richmond captured on canvas is a quiet town on its way to becoming an industrial city. There’s a woman in a yellow dress, buying fruit. There’s a boy with his bicycle. In the background, a freight train passes by oil tanks and a refinery spouting black smoke.\u003c/p>\n\u003cp>Arnautoff, who at that time was a secret member of the Communist party, dropped subtle political messages into his mural. He depicts four dock workers on their (union-guaranteed) lunch break, discussing the news of the day.\u003c/p>\n\u003cp>Catherine Powell, director of the Labor Archives and Research Center at SFSU noticed that two of the workers have round pins on their hats, indicating membership of the longshoremen’s union.\u003c/p>\n\u003cp>And one of the four is black — a significant gesture at a time when African-Americans made up just 1% of the city’s population.\u003c/p>\n\u003cp>Cherny says the local longshoremen’s union was one of the first to promote an a racially integrated workforce. The union “stood for the equality of all of its workers,” Cherny says.\u003c/p>\n\u003cfigure id=\"attachment_13810143\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historians Catherine Powell and Robert Cherny with a life-size reproduction of the mural at San Francisco State University \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Into the basement\u003c/h2>\n\u003cp>When McCrary asked postal employees about the mural, they hadn’t heard of it, and they wouldn’t let her conduct a search for the long lost work around their building.\u003c/p>\n\u003cp>So she asked a member of her board to help — a former city council member who happened to know Richmond’s former postmaster. The former postmaster knew a janitor who worked at the post office. And the janitor agreed to look for the mural.\u003c/p>\n\u003cp>One day, after the post office closed, the janitor let McCrary into the basement.\u003c/p>\n\u003cp>“It was totally sneaky,” McCrary says. “I was not supposed to be down there.”\u003c/p>\n\u003cp>Deep underground, he opened a pair of double doors to a small dusty room. There was only one thing in the room: a large, wooden crate with a handwritten label that said “Victor Arnotoff” [sic].\u003c/p>\n\u003cfigure id=\"attachment_13810152\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg\" alt=\"\" width=\"250\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-520x732.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The label on the crate from when the mural was removed in 1976. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary couldn’t verify that the mural was in the box, let alone run off with it. She had to spend a year persuading the postal service to approve a loan to her museum.\u003c/p>\n\u003cp>Then, just weeks after the deal was signed, McCrary found out that the basement of the post office was flooded.\u003c/p>\n\u003cp>She panicked, and rushed to the post office basement with a couple of art handlers. There, they saw a waterline six inches from the bottom of the crate.\u003c/p>\n\u003cp>“We were all convinced that the mural was ruined,” McCrary says.\u003c/p>\n\u003cp>They whisked the crate out of the post office, pried it open with a crowbar, and discovered that the mural had been stored on a set of stilts.\u003c/p>\n\u003cp>“It was an absolutely exhilarating feeling to know that it didn’t get wet,” McCrary says.\u003c/p>\n\u003cp>A life-size reproduction of the mural is now \u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\">on exhibit at SFSU\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary with the mural, now in storage at the Richmond Museum of History \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary is trying to raise funds to restore the original painting, which is wrinkled and has bits of lead-based adhesive stuck to it. Nathan Zakheim, the same art preservationist who took down the mural in 1976, may be the one to restore it.\u003c/p>\n\u003cp>McCrary hopes to display the restored original at the Richmond Museum of History, located just a few blocks away from the post office. “I want to put the Richmond museum on the map,” McCrary says.\u003c/p>\n\u003cp>For now, the mural is wrapped up in plastic at the museum — in a basement.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>\u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\" target=\"_blank\" rel=\"noopener\">\u003cem>Victor Arnautoff and the Politics of Art\u003c/em>\u003c/a> runs through Tuesday, Dec. 12 at the Labor Archives and Research Center at San Francisco State University.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810033/richmond-mural-rediscovered","authors":["11259"],"categories":["arts_235","arts_70"],"tags":["arts_2647","arts_2640","arts_2479","arts_901","arts_2653"],"featImg":"arts_13810309","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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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