‘Our Origin Story’: Queen Calafia Returns to California in New Theatre Production
Inside Frida Kahlo and Diego Rivera's Life in San Francisco
Mexican Museum Finally Getting the Home it Deserves
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Its origins are with the Akan tribe in Ghana.\u003c/em>\u003c/p>\n\u003cp>Earlier this month, a modest crowd gathered at Dunphy Park in Sausalito to witness the return of a mythical head of state. Dressed in yellow and gold and covered in jewels, Queen Calafia stepped off her boat and onto California soil for the first time in hundreds of years.\u003c/p>\n\u003cp>The production, staged on Oct. 3 by the Antenna Theater of San Rafael, sought to showcase the rich story that answers a basic question: Where does California get its name?\u003c/p>\n\u003cp>If you’ve never heard of Queen Calafia, you’re not alone. She was a character in \"Las Sergas de Esplandián,\" an early 16th-century romantic adventure novel written by Spanish author Garci Rodríguez de Montalvo. In Las Sergas, Calafia was described as a Black warrior queen who ruled the mythical island of California. The island was inhabited only by Black women who lived like amazon warriors. Calafia wore armor made of fish bones, used weapons made of gold and commanded an army of griffins.\u003c/p>\n\u003cfigure id=\"attachment_11892346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892346 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1020x1528.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-160x240.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1025x1536.jpeg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia takes her first step onto California soil in 500 years. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastical as that might seem, the novel was so popular in Spain that when conquistadors reached the tip of the Baja Peninsula, they thought they’d found the fabled island of California, and named it accordingly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name stuck, but the memory of Calafia largely faded. She has only appeared in popular culture in fits and starts: in a Diego Rivera fresco at the City Club of San Francisco, in a mural at the InterContinental Mark Hopkins San Francisco hotel and in a Disney California Adventure Park movie, in which she was played by Whoopi Goldberg.\u003c/p>\n\u003cp>Raylene Gorum, who attended the gathering, lives on a houseboat in Sausalito and said she only found out about Calafia a couple of months ago.\u003c/p>\n\u003cp>“I found it really intriguing and I really would like to celebrate this part of California history. I think it's the right time.” Gorum said.\u003c/p>\n\u003cp>During a moment of racial reckoning in the United States, as racist statues are being removed and schools renamed, many here consider Calafia’s story part of a nationwide movement to re-examine and re-tell our nation's history. Among them is Dee Nathaniel, the actress playing the queen herself.\u003c/p>\n\u003cfigure id=\"attachment_11892347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892347 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-1020x1528.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-160x240.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-1025x1536.jpeg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A large doll welcomes the queen. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the past, women of color, especially Black women, haven't always had the best representation,” she said. “So I think corrective representation is really important because we're looking at the new generation of Black girls and women of color coming up, and it's really important for them to see positive role models.”\u003c/p>\n\u003cp>Calafia may be a particularly charismatic role model because there just isn’t anyone like her, says Stacey Triplette, a Spanish professor at the University of Pittsburgh at Greensburg.\u003c/p>\n\u003cp>“Positive representations of Black people in early modern literature are incredibly rare,\" she said. \"Things like Othello, where it's a very negative, very stereotyped representation, are so much more common. So this Black, beautiful woman is really unique.”\u003c/p>\n\u003cp>And that’s part of why Nathaniel finds it so exciting to embody Calafia in this production.\u003c/p>\n\u003cp>“We have an issue with erasure, and when something doesn't fit into the dominant cultural narrative it's erased. I know that history is written by the winners, but if we want a more inclusive society, we need to reach back into history and restore some of what has been lost,” she said.\u003c/p>\n\u003cp>Calafia also doesn't conform to the normalized gender roles of her time, Triplette added.\u003c/p>\n\u003cfigure id=\"attachment_11892349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892349 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1020x1528.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia addresses the audience in song. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There's not that sort of intellectual framework to talk about what being LGBTQ would be in the medieval and Renaissance period, but you can find a literary character like Calafia who doesn't conform to what their society's notion of femininity or masculinity should be,” Triplette said, alluding to Calafia's profile as a strong leader and warrior.\u003c/p>\n\u003cp>Regardless of what she represents, the Calafia story is essential knowledge for every Californian, argues Chris Hardman, the Antenna Theater's artistic director.\u003c/p>\n\u003cp>“It's our origin story. It's like if you've decided not to read Genesis and you were a Christian,” Hardman said.\u003c/p>\n\u003cp>And he thinks that theater is the right medium to bring that story to life.\u003c/p>\n\u003cp>“That's what the potential of the theater trick is. It brings the history in and puts it right in front of you, and says, ‘It's live. Deal with it. Get in there, understand this.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11892348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892348 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-1020x1528.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia leads the procession at Sausalito Dunphy Park. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hardman plans to host more theatrical events that raise awareness about Calafia, including a fantastical archaeological dig for California griffin bones and creating a redesigned California state seal featuring the queen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All these efforts have one goal: to make Queen Calafia a household name in her own kingdom.\u003cbr>\n\u003cem>\u003cbr>\nThanks to Professor Ignacio Navarrete of the UC Berkeley Department of Spanish and Portuguese for reading Las Sergas de Esplandián in this story.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Where does California get its name from? The new Antenna Theater of San Rafael production gives answers.","status":"publish","parent":0,"modified":1653547080,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":915},"headData":{"title":"‘Our Origin Story’: Queen Calafia Returns to California in New Theatre Production | KQED","description":"Where does California get its name from? The new Antenna Theater of San Rafael production gives answers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11892023 https://ww2.kqed.org/news/?p=11892023","disqusUrl":"https://ww2.kqed.org/news/2021/10/15/our-origin-story-queen-calafia-returns-to-california-in-new-theatre-production/","disqusTitle":"‘Our Origin Story’: Queen Calafia Returns to California in New Theatre Production","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/8a45ed46-8ef9-4f7d-b5e6-adc20164c086/audio.mp3","excludeFromSiteSearch":"Include","path":"/news/11892023/our-origin-story-queen-calafia-returns-to-california-in-new-theatre-production","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor's Note: The audio version of this piece incorrectly identified Sankofa as a Swahili word. Its origins are with the Akan tribe in Ghana.\u003c/em>\u003c/p>\n\u003cp>Earlier this month, a modest crowd gathered at Dunphy Park in Sausalito to witness the return of a mythical head of state. Dressed in yellow and gold and covered in jewels, Queen Calafia stepped off her boat and onto California soil for the first time in hundreds of years.\u003c/p>\n\u003cp>The production, staged on Oct. 3 by the Antenna Theater of San Rafael, sought to showcase the rich story that answers a basic question: Where does California get its name?\u003c/p>\n\u003cp>If you’ve never heard of Queen Calafia, you’re not alone. She was a character in \"Las Sergas de Esplandián,\" an early 16th-century romantic adventure novel written by Spanish author Garci Rodríguez de Montalvo. In Las Sergas, Calafia was described as a Black warrior queen who ruled the mythical island of California. The island was inhabited only by Black women who lived like amazon warriors. Calafia wore armor made of fish bones, used weapons made of gold and commanded an army of griffins.\u003c/p>\n\u003cfigure id=\"attachment_11892346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892346 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1020x1528.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-160x240.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1025x1536.jpeg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia takes her first step onto California soil in 500 years. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastical as that might seem, the novel was so popular in Spain that when conquistadors reached the tip of the Baja Peninsula, they thought they’d found the fabled island of California, and named it accordingly.\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 name stuck, but the memory of Calafia largely faded. She has only appeared in popular culture in fits and starts: in a Diego Rivera fresco at the City Club of San Francisco, in a mural at the InterContinental Mark Hopkins San Francisco hotel and in a Disney California Adventure Park movie, in which she was played by Whoopi Goldberg.\u003c/p>\n\u003cp>Raylene Gorum, who attended the gathering, lives on a houseboat in Sausalito and said she only found out about Calafia a couple of months ago.\u003c/p>\n\u003cp>“I found it really intriguing and I really would like to celebrate this part of California history. I think it's the right time.” Gorum said.\u003c/p>\n\u003cp>During a moment of racial reckoning in the United States, as racist statues are being removed and schools renamed, many here consider Calafia’s story part of a nationwide movement to re-examine and re-tell our nation's history. Among them is Dee Nathaniel, the actress playing the queen herself.\u003c/p>\n\u003cfigure id=\"attachment_11892347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892347 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-1020x1528.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-160x240.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-1025x1536.jpeg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A large doll welcomes the queen. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the past, women of color, especially Black women, haven't always had the best representation,” she said. “So I think corrective representation is really important because we're looking at the new generation of Black girls and women of color coming up, and it's really important for them to see positive role models.”\u003c/p>\n\u003cp>Calafia may be a particularly charismatic role model because there just isn’t anyone like her, says Stacey Triplette, a Spanish professor at the University of Pittsburgh at Greensburg.\u003c/p>\n\u003cp>“Positive representations of Black people in early modern literature are incredibly rare,\" she said. \"Things like Othello, where it's a very negative, very stereotyped representation, are so much more common. So this Black, beautiful woman is really unique.”\u003c/p>\n\u003cp>And that’s part of why Nathaniel finds it so exciting to embody Calafia in this production.\u003c/p>\n\u003cp>“We have an issue with erasure, and when something doesn't fit into the dominant cultural narrative it's erased. I know that history is written by the winners, but if we want a more inclusive society, we need to reach back into history and restore some of what has been lost,” she said.\u003c/p>\n\u003cp>Calafia also doesn't conform to the normalized gender roles of her time, Triplette added.\u003c/p>\n\u003cfigure id=\"attachment_11892349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892349 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1020x1528.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia addresses the audience in song. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There's not that sort of intellectual framework to talk about what being LGBTQ would be in the medieval and Renaissance period, but you can find a literary character like Calafia who doesn't conform to what their society's notion of femininity or masculinity should be,” Triplette said, alluding to Calafia's profile as a strong leader and warrior.\u003c/p>\n\u003cp>Regardless of what she represents, the Calafia story is essential knowledge for every Californian, argues Chris Hardman, the Antenna Theater's artistic director.\u003c/p>\n\u003cp>“It's our origin story. It's like if you've decided not to read Genesis and you were a Christian,” Hardman said.\u003c/p>\n\u003cp>And he thinks that theater is the right medium to bring that story to life.\u003c/p>\n\u003cp>“That's what the potential of the theater trick is. It brings the history in and puts it right in front of you, and says, ‘It's live. Deal with it. Get in there, understand this.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11892348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11892348 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-1020x1528.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia leads the procession at Sausalito Dunphy Park. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hardman plans to host more theatrical events that raise awareness about Calafia, including a fantastical archaeological dig for California griffin bones and creating a redesigned California state seal featuring the queen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All these efforts have one goal: to make Queen Calafia a household name in her own kingdom.\u003cbr>\n\u003cem>\u003cbr>\nThanks to Professor Ignacio Navarrete of the UC Berkeley Department of Spanish and Portuguese for reading Las Sergas de Esplandián in this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11892023/our-origin-story-queen-calafia-returns-to-california-in-new-theatre-production","authors":["11785"],"programs":["news_26731"],"categories":["news_29992","news_223","news_8"],"tags":["news_30067","news_30063","news_18538","news_20397","news_1438","news_30066","news_30064","news_30065","news_30062","news_655","news_30061"],"featImg":"news_11892350","label":"news_26731"},"news_11848986":{"type":"posts","id":"news_11848986","meta":{"index":"posts_1591205157","site":"news","id":"11848986","score":null,"sort":[1606993254000]},"guestAuthors":[],"slug":"inside-frida-kahlo-and-diego-riveras-life-in-san-francisco","title":"Inside Frida Kahlo and Diego Rivera's Life in San Francisco","publishDate":1606993254,"format":"standard","headTitle":"Inside Frida Kahlo and Diego Rivera’s Life in San Francisco | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/podcasts/baycurious\">Bay Curious\u003c/a> listener Erin Al Gwaiz wrote us asking to learn more about Frida Kahlo and Diego Rivera’s time spent in San Francisco and their lasting impact on the arts scene here. This story originally ran on Dec. 3, 2020.\u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hese days, Frida Kahlo’s image is all around us. Her iconic eyebrows and piercing gaze have been immortalized on T-shirts, tote bags and tequila bottles. There’s even a \u003ca href=\"https://barbie.mattel.com/shop/en-us/ba/inspiring-women-series/barbie-inspiring-women-series-frida-kahlo-doll-fjh65\">Frida Barbie doll\u003c/a>.\u003c/p>\n\u003cp>But before her image became so commercialized and ubiquitous, Kahlo was just a budding artist waiting for her big break. Married to the older and already famous artist Diego Rivera, Kahlo was determined to make a name for herself, and her time in San Francisco would help her do that.\u003c/p>\n\u003ch3>Frida and Diego Come to San Francisco\u003c/h3>\n\u003cp>It was a place she called “the city of the world,” and she often dreamed of it as a teenager, says University of San Francisco professor and author of \u003cem>\u003ca href=\"http://fridakahlojourney.com/index.html\">Frida in America\u003c/a>\u003c/em>, Celia Stahr. As she and Rivera make their way to San Francisco in 1930, she doodles a portrait of herself set against a backdrop of how she imagined the city to be.\u003c/p>\n\u003cp>“When they get to San Francisco, she shows it to Diego and he just marvels at how much it looks like what they’re seeing before them, kind of like she already knew what it was going to look like even though she’d never been [here],” says Stahr. “So there’s a sense of destiny that she was supposed to come here.”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Despite the fact that it was the Great Depression and paid work opportunities for American artists were scarce, Rivera landed two prestigious mural commissions: one at the \u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\">San Francisco Art Institute\u003c/a> and another at the Pacific Stock Exchange building, now called the City Club of San Francisco. His patrons hoped that Rivera’s fame would bring prestige to the local art scene and help jump-start a mural movement in the bay.\u003c/p>\n\u003cp>But Rivera was a controversial pick for the Stock Exchange. As a member of the Mexican Communist Party, Rivera imbued his politics in his large-scale public murals. Many San Francisco artists were outraged that an outspoken communist would paint in the city’s “citadel of capitalism” and took to the newspaper to express their opposition.\u003c/p>\n\u003cfigure id=\"attachment_11848996\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848996 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg\" alt=\"\" width=\"383\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg 383w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313-160x167.jpg 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Rivera at work on the ‘Allegory of California’ mural at the Pacific Stock Exchange. \u003ccite>(San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe he is the greatest living artist in the world and we would do well to have an example of his work in a public building in San Francisco. But he is not the man for the Stock Exchange building,” argued painter Maynard Dixon.\u003c/p>\n\u003cp>Where his critics saw offense, his supporters saw beauty. Rivera’s masterful use of the fresco technique, applying pigment to wet plaster, fascinated local artists who eagerly wanted to learn the craft.\u003c/p>\n\u003cp>In one of the many letters Kahlo wrote to her family about the Bay Area, she notes the nonstop attention Rivera attracted. “The poor guy can’t even go to the bathroom in peace because they’re bugging him all day,” she wrote.\u003c/p>\n\u003cp>The 23-year-old Kahlo had only been painting for five years, and the local press merely regarded her as the wife of the famous Mexican muralist.\u003c/p>\n\u003cp>“She hasn’t had that much experience. She hasn’t really found her artistic voice quite yet,” explains Celia Stahr.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>Soirees, Sketching and Sightseeing\u003c/h3>\n\u003cp>In their new home at 716 Montgomery St., not far from North Beach and Chinatown, Kahlo was surrounded by artists who energized her creative process, says Stahr. For six months, the couple stayed at the studio of Rivera’s old classmate and friend, sculptor Ralph Stackpole, who introduced them to an eclectic group of writers, painters and photographers.\u003c/p>\n\u003cfigure id=\"attachment_11848997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848997 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg\" alt=\"\" width=\"800\" height=\"820\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-160x164.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut.jpg 858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rivera and Kahlo stay at the studio of sculptor Ralph Stackpole while living in San Francisco between 1930-1931. \u003ccite>(Archives of American Art, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many Bay Area-based artists they befriended included Dorothea Lange and her husband Maynard Dixon (who had warmed to Rivera by this point).\u003c/p>\n\u003cp>“The foursome talked art, politics, and the bleak times,” writes Stahr. “Dorothea’s need to respond to these desperate times appealed to Frida and Diego’s working-class sympathies.”\u003c/p>\n\u003cp>Part of Kahlo’s routine was getting together with \u003ca href=\"https://en.wikipedia.org/wiki/Pele_de_Lappe\">Pele deLappe\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Lucile_Blanch\">Lucile Blanch\u003c/a> to make art.\u003c/p>\n\u003cp>“We would draw these composite drawings where each one would start on a particular sheet of paper and then trade them off and pass them around,” recalled deLappe in an interview \u003ca href=\"https://archive.org/details/pele-frieda\">recorded in 2001\u003c/a>. “[The sketches] were usually very obscene or horrendous and bloody or sensuous in some way.”\u003c/p>\n\u003cp>Art historian Celia Stahr says these hangouts were helpful for Kahlo’s artistic development.\u003c/p>\n\u003cp>When she and Rivera weren’t busy painting, they made plenty of time for sightseeing around San Francisco.\u003c/p>\n\u003cp>“In the Russia colony they dress as they do in Russia, and the girls dance on the hills. The Greek colony is also very interesting and the Japanese, but most of all the Chinese,” Frida wrote in a letter to her mother.\u003c/p>\n\u003cp>“She just gushes about Chinatown and she writes about it quite a bit. It reminded her very much, she said, of home. She writes about how she’s convinced that the Mexican people and the Chinese people are connected to one another,” says Stahr.\u003c/p>\n\u003cp>Letters detail how the firecrackers during Chinese New Year festivities reminded Kahlo of street fairs back in Mexico. Silks and other handmade fabrics sold in the shops of Chinatown also caught her eye. She purchased a few to embellish her red leather boots and make into Mexican-style skirts.\u003c/p>\n\u003cp>Kahlo’s style definitely caught the attention of San Franciscans. Her indigenous dress, influenced by the Zapotec women of Tehuantepec, stirred so much excitement on the streets of San Francisco that she reportedly stopped traffic.\u003c/p>\n\u003cfigure id=\"attachment_11848998\" class=\"wp-caption alignright\" style=\"max-width: 345px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848998 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg\" alt=\"\" width=\"345\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg 345w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633-160x186.jpg 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo painting a portrait of Mrs. Jean Wight in San Francisco \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The gringas seem to like me a lot and they are really impressed by all the dresses and rebozos I brought with me, they gape at the jade necklaces and all the painters want me to model for the portraits,” Kahlo wrote to her mother.\u003c/p>\n\u003cp>Her bold look catches the attention of well-known photographers Imogen Cunningham and Edward Weston, who ask her to pose for them in San Francisco. Since Kahlo was the daughter of a photographer, she was a natural in front of the camera. A local writer also pens a play about her and Rivera called “\u003ca href=\"https://www.si.edu/object/AAADCD_item_766\">The Queen of Montgomery Street\u003c/a>.”\u003c/p>\n\u003cp>This recognition adds to Frida’s growing artist persona and helped plant the seeds for her eventual rise to icon status.\u003c/p>\n\u003cp>But underneath her colorful garments, Kahlo’s body ached. At 18 she had suffered a horrific street car accident that severely damaged most of her body and exacerbated the chronic pain of her polio leg. Her long walks around San Francisco began to take a toll on her.\u003c/p>\n\u003ch3>New Friends, New Places and New Ideas\u003c/h3>\n\u003cp>That changed when she met \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/portrait-of-dr-leo-eloesser-1931\">Dr. Leo Eloesser\u003c/a>, who would ultimately have a big impact on her life. Eloesser was the chief of thoracic surgery at San Francisco General Hospital and he went above and beyond to treat Kahlo’s foot and leg pain, even showing up at her doorstep when she’d miss her appointments.\u003c/p>\n\u003cp>Beyond his thorough care, he connected with Kahlo and Rivera on a creative level.\u003c/p>\n\u003cp>“Leo was a musician. He played viola and he would have weekly soirees at his flat. And so he was a doctor, but you could say he had the soul of an artist,” said Stahr.\u003c/p>\n\u003cp>The three of them even traveled around Northern California together. One time, Eloesser took Kahlo on her first plane ride. They flew from Oakland to Sacramento to meet up with Rivera who was busy sketching mines and dredgers for his \u003ca href=\"https://www.wikiart.org/en/diego-rivera/allegory-of-california-1931\">“Allegory of California” \u003c/a>mural. One of these excursions proved to be a major turning point for Kahlo’s art.\u003c/p>\n\u003cp>On a trip to Santa Rosa, Rivera and Kahlo visited the garden of the famous horticulturist Luther Burbank, known as “the wizard of horticulture.” He developed more than 800 varieties of fruits, vegetables and plants by cross breeding two kinds together.\u003c/p>\n\u003cfigure id=\"attachment_11849000\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849000 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg\" alt=\"\" width=\"640\" height=\"893\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-800x1117.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-160x223.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1100x1536.jpg 1100w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1467x2048.jpg 1467w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-scaled.jpg 1833w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera and Frida Kahlo at the garden of Luther Burbank in Santa Rosa \u003ccite>(Luther Burbank Home & Gardens Collection--Sonoma County Library Digital Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing how Burbank literally fused together two organisms to create something brand new mesmerized Kahlo. She applies Burbank’s hybrid technique to her art, and what comes out is a \u003ca href=\"https://artsandculture.google.com/story/portrait-of-luther-burbank/fwJiOmp7mtPdLA\">portrait of the horticulturist\u003c/a> as part human and part tree trunk with roots connecting to his buried corpse.\u003c/p>\n\u003cp>[emailsignup newslettername=\"baycurious\" align=\"right\"]\u003c/p>\n\u003cp>“This is really her first major breakthrough creatively, in terms of creating a new style that was very different from what she’d been working on,” explains Stahr.\u003c/p>\n\u003cp>From this point on, Kahlo continued to play with imagery of \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/roots-1943\">roots\u003c/a>, plants and \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/the-wounded-deer-1946\">hybrid bodies\u003c/a> to portray themes of life and death. It’s a duality that was already part of her Mexican upbringing, says Stahr, but a visual style that was honed here in the Bay Area.\u003c/p>\n\u003cp>When Rivera completed his two murals in 1931, the couple briefly went back to Mexico before returning to the U.S. to paint in New York City and Detroit. But it wouldn’t be the last time they visited San Francisco.\u003c/p>\n\u003ch3>Frida and Diego Take on San Francisco a Second Time\u003c/h3>\n\u003cp>When they return a decade later, Kahlo and Rivera are divorced, and they arrive following dramatic circumstances.\u003c/p>\n\u003cp>First came Rivera, who fled Mexican authorities who wanted to question him about the attempted assassination of his former friend and exiled Russian revolutionary, Leon Trotsky.\u003c/p>\n\u003cp>Kahlo wasn’t so lucky. Months later, when Trotsky was actually assassinated, the police detained her for questioning, believing she was an accomplice. (Years prior, she and Rivera offered their Casa Azul to Trotsky and his wife for political asylum). The brief experience in jail left her traumatized.\u003c/p>\n\u003cp>“She was in a terrible emotional state. Physically, she wasn’t doing well. She complained of back and leg pain,” says Stahr.\u003c/p>\n\u003cfigure id=\"attachment_11849008\" class=\"wp-caption alignleft\" style=\"max-width: 599px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849008 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg\" alt=\"\" width=\"599\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg 599w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1-160x342.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">A letter Kahlo wrote to Rivera while hospitalized at St. Luke’s \u003ccite>(Archives of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response, her doctors in Mexico advised her to undergo more surgeries. But her friend and trusted doctor, Leo Eloesser, didn’t agree. He felt her emotional health needed tending to, so he prescribed her a better diet, less drinking and advised her to reconcile with Rivera in San Francisco.\u003c/p>\n\u003cp>“[Eloesser] played this important role in their marriage. He was really the go between with their relationship,” explains Stahr.\u003c/p>\n\u003cp>Kahlo took his advice and when she arrived, she resided with Rivera at 42 Calhoun Terrace in Telegraph Hill before letting Eloesser admit her to St. Luke’s Hospital in the Mission District.\u003c/p>\n\u003cp>Meanwhile, Rivera was busy working on his \u003ca href=\"https://www.ccsf.edu/campus-life/arts-ccsf/pan-american-unity-mural\">largest single standing mural\u003c/a>, known as the “Pan American Unity” mural. For months he and his assistants painted in front of a public audience at Treasure Island during the Golden Gate International Exposition. (\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187038\">Watch this video clip\u003c/a> of Rivera and his team painting at Treasure Island.)\u003c/p>\n\u003cp>Once again, Rivera’s art sparked controversy. Not because he painted his communist politics but because he portrayed the cruelty of Nazi Germany. It was his way of urging the U.S. to intervene in World War II and protect all of the Americas, including Mexico.\u003c/p>\n\u003cp>When Kahlo was discharged from the hospital and felt physically and emotionally stronger, she and Rivera remarried at San Francisco City Hall on Rivera’s 54th birthday.\u003c/p>\n\u003cp>The Oakland Tribune snaps a photograph of the couple and this time acknowledges Kahlo as “an artist in her own right.”\u003c/p>\n\u003cfigure id=\"attachment_11848999\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11848999\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg\" alt=\"\" width=\"477\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg 477w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975-160x134.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo and Rivera remarry at San Francisco City Hall in 1940 \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By 1940 she has achieved quite a bit. You might say she’s at the height of her career at that time,” says Stahr.\u003c/p>\n\u003cp>Her art was exhibited at the World’s Fair on Treasure Island, the Legion of Honor and landed in the hands of an important collector, Albert Bender, who was affiliated with San Francisco Museum of Modern Art — all things that helped give Kahlo wider exposure around the U.S.\u003c/p>\n\u003cp>“You have no idea how marvelous the city is, it helped me a lot to come because it opened my eyes and I’ve seen lots of swell new things,” wrote Kahlo to a friend.*\u003c/p>\n\u003ch3>A Legacy That Keeps Evolving\u003c/h3>\n\u003cp>As much as the Bay Area provided Kahlo and Rivera a platform to create and thrive, the couple also gave San Francisco a lasting blueprint for creativity.\u003c/p>\n\u003cp>“In fact, Coit Tower and the murals there emerge because of Diego’s influence,” says Stahr. Some of the Coit Tower muralists actually trained under Rivera, following in his footsteps by painting large-scale fresco murals that focus on workers and class issues.\u003c/p>\n\u003cp>His work also emboldened muralists at the \u003ca href=\"https://www.atlasobscura.com/places/beach-chalet-wpa-murals\">Beach Chalet\u003c/a> and \u003ca href=\"https://www.foundsf.org/index.php?title=UCSF%27s_Depression-Era_Medical_History_Murals\">UCSF\u003c/a>. Ultimately, his patron’s desire for a mural movement to take off in San Francisco came to fruition.\u003c/p>\n\u003cfigure id=\"attachment_11848992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848992 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-160x233.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut.jpg 941w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Starting in the 1970s, exhibits and events at La Galería de la Raza in the Mission District helped generate interest and appreciation for Kahlo’s life. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahlo’s body of work also had a monumental impact on Bay Area artists, starting in the 1970s.\u003c/p>\n\u003cp>As many Chicanos and Latinos continued the fight for civil rights and representation, local artists like \u003ca href=\"https://en.wikipedia.org/wiki/Amalia_Mesa-Bains\">Amalia Mesa-Bains\u003c/a> turned to Kahlo and Rivera’s art as a source of empowerment and cultural pride.\u003c/p>\n\u003cp>“We had experienced racism and discrimination and so we needed to reclaim our sense of belonging. Frida and Diego became in many ways models for us, that an artist could be at the same time political and cultural,” says Mesa-Bains.\u003c/p>\n\u003cfigure id=\"attachment_11848993\" class=\"wp-caption alignright\" style=\"max-width: 328px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848993\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg\" alt=\"\" width=\"328\" height=\"429\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut.jpg 791w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Rupert Garcia for the seminal 1978 exhibition. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mesa-Bains and other Chicana/o artists were so moved by Kahlo’s complicated and bold art that they curated an exhibition called “Homenaje a Frida Kahlo” at the\u003ca href=\"http://www.galeriadelaraza.org/\"> Galería de la Raza\u003c/a> in 1978.\u003c/p>\n\u003cp>Artists created works inspired by Kahlo and those who personally knew the couple in San Francisco, such as \u003ca href=\"https://en.wikipedia.org/wiki/Emmy_Lou_Packard\">Emmy Lou Packard\u003c/a>, were invited to share memories of them.\u003c/p>\n\u003cp>This exhibit came at a time when there was very little published about Kahlo’s life and work, so it was seminal to introducing Kahlo to a wider audience before Frida-mania ensued.\u003c/p>\n\u003cp>Today, local artists continue to pay tribute to the two Mexican artists. Rio Yañez’s series, “\u003ca href=\"https://www.flickr.com/photos/elrio/sets/72157594566662293/\">Ghetto Frida\u003c/a>,” imagines Kahlo as a sort of comic book character hanging out at various spots in the pre-gentrified Mission District. And the political ethos of street art in the Bay hearkens back to Rivera’s masterpieces.\u003c/p>\n\u003cp>In 2018, San Francisco city officials renamed a street after Frida Kahlo in front of City College of San Francisco’s main campus, also the permanent home of Diego Rivera’s “\u003ca href=\"https://riveramural.org/\">Pan American Unity” mural\u003c/a>.\u003c/p>\n\u003cp>In what Kahlo called the “city of the world” the lasting brush strokes of Mexico’s most known artists are as vibrant as ever.\u003c/p>\n\u003cfigure id=\"attachment_11848991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848991 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1536x1229.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2009, Rio Yañez created Ghetto Frida’s ‘Mission Memories’ to pay tribute to the iconic artist and favorite spots growing up in the Mission district. \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The translated quotes from Kahlo’s letters to her family that appear in this article have been sourced from Celia Stahr’s book, “\u003ca href=\"https://us.macmillan.com/books/9781250113399\">Frida in America: The Creative Awakening of a Great Artist\u003c/a>.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>* Letter to Kahlos’s friend appears in Frida by Frida collected by Raquel Tibol\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Bay Area provided Kahlo and Rivera a place to create and thrive, and they gave San Francisco a lasting blueprint for creativity. ","status":"publish","parent":0,"modified":1700589136,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":68,"wordCount":2773},"headData":{"title":"Inside Frida Kahlo and Diego Rivera's Life in San Francisco | KQED","description":"The Bay Area provided Kahlo and Rivera a place to create and thrive, and they gave San Francisco a lasting blueprint for creativity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC4452216207.mp3?updated=1660796816","excludeFromSiteSearch":"Include","path":"/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/podcasts/baycurious\">Bay Curious\u003c/a> listener Erin Al Gwaiz wrote us asking to learn more about Frida Kahlo and Diego Rivera’s time spent in San Francisco and their lasting impact on the arts scene here. This story originally ran on Dec. 3, 2020.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hese days, Frida Kahlo’s image is all around us. Her iconic eyebrows and piercing gaze have been immortalized on T-shirts, tote bags and tequila bottles. There’s even a \u003ca href=\"https://barbie.mattel.com/shop/en-us/ba/inspiring-women-series/barbie-inspiring-women-series-frida-kahlo-doll-fjh65\">Frida Barbie doll\u003c/a>.\u003c/p>\n\u003cp>But before her image became so commercialized and ubiquitous, Kahlo was just a budding artist waiting for her big break. Married to the older and already famous artist Diego Rivera, Kahlo was determined to make a name for herself, and her time in San Francisco would help her do that.\u003c/p>\n\u003ch3>Frida and Diego Come to San Francisco\u003c/h3>\n\u003cp>It was a place she called “the city of the world,” and she often dreamed of it as a teenager, says University of San Francisco professor and author of \u003cem>\u003ca href=\"http://fridakahlojourney.com/index.html\">Frida in America\u003c/a>\u003c/em>, Celia Stahr. As she and Rivera make their way to San Francisco in 1930, she doodles a portrait of herself set against a backdrop of how she imagined the city to be.\u003c/p>\n\u003cp>“When they get to San Francisco, she shows it to Diego and he just marvels at how much it looks like what they’re seeing before them, kind of like she already knew what it was going to look like even though she’d never been [here],” says Stahr. “So there’s a sense of destiny that she was supposed to come here.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Despite the fact that it was the Great Depression and paid work opportunities for American artists were scarce, Rivera landed two prestigious mural commissions: one at the \u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\">San Francisco Art Institute\u003c/a> and another at the Pacific Stock Exchange building, now called the City Club of San Francisco. His patrons hoped that Rivera’s fame would bring prestige to the local art scene and help jump-start a mural movement in the bay.\u003c/p>\n\u003cp>But Rivera was a controversial pick for the Stock Exchange. As a member of the Mexican Communist Party, Rivera imbued his politics in his large-scale public murals. Many San Francisco artists were outraged that an outspoken communist would paint in the city’s “citadel of capitalism” and took to the newspaper to express their opposition.\u003c/p>\n\u003cfigure id=\"attachment_11848996\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848996 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg\" alt=\"\" width=\"383\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313.jpg 383w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAK-0313-160x167.jpg 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Rivera at work on the ‘Allegory of California’ mural at the Pacific Stock Exchange. \u003ccite>(San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe he is the greatest living artist in the world and we would do well to have an example of his work in a public building in San Francisco. But he is not the man for the Stock Exchange building,” argued painter Maynard Dixon.\u003c/p>\n\u003cp>Where his critics saw offense, his supporters saw beauty. Rivera’s masterful use of the fresco technique, applying pigment to wet plaster, fascinated local artists who eagerly wanted to learn the craft.\u003c/p>\n\u003cp>In one of the many letters Kahlo wrote to her family about the Bay Area, she notes the nonstop attention Rivera attracted. “The poor guy can’t even go to the bathroom in peace because they’re bugging him all day,” she wrote.\u003c/p>\n\u003cp>The 23-year-old Kahlo had only been painting for five years, and the local press merely regarded her as the wife of the famous Mexican muralist.\u003c/p>\n\u003cp>“She hasn’t had that much experience. She hasn’t really found her artistic voice quite yet,” explains Celia Stahr.\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\u003ch3>Soirees, Sketching and Sightseeing\u003c/h3>\n\u003cp>In their new home at 716 Montgomery St., not far from North Beach and Chinatown, Kahlo was surrounded by artists who energized her creative process, says Stahr. For six months, the couple stayed at the studio of Rivera’s old classmate and friend, sculptor Ralph Stackpole, who introduced them to an eclectic group of writers, painters and photographers.\u003c/p>\n\u003cfigure id=\"attachment_11848997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848997 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg\" alt=\"\" width=\"800\" height=\"820\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-800x820.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut-160x164.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46092_AAA-AAA_packemmy_65269-qut.jpg 858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rivera and Kahlo stay at the studio of sculptor Ralph Stackpole while living in San Francisco between 1930-1931. \u003ccite>(Archives of American Art, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many Bay Area-based artists they befriended included Dorothea Lange and her husband Maynard Dixon (who had warmed to Rivera by this point).\u003c/p>\n\u003cp>“The foursome talked art, politics, and the bleak times,” writes Stahr. “Dorothea’s need to respond to these desperate times appealed to Frida and Diego’s working-class sympathies.”\u003c/p>\n\u003cp>Part of Kahlo’s routine was getting together with \u003ca href=\"https://en.wikipedia.org/wiki/Pele_de_Lappe\">Pele deLappe\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Lucile_Blanch\">Lucile Blanch\u003c/a> to make art.\u003c/p>\n\u003cp>“We would draw these composite drawings where each one would start on a particular sheet of paper and then trade them off and pass them around,” recalled deLappe in an interview \u003ca href=\"https://archive.org/details/pele-frieda\">recorded in 2001\u003c/a>. “[The sketches] were usually very obscene or horrendous and bloody or sensuous in some way.”\u003c/p>\n\u003cp>Art historian Celia Stahr says these hangouts were helpful for Kahlo’s artistic development.\u003c/p>\n\u003cp>When she and Rivera weren’t busy painting, they made plenty of time for sightseeing around San Francisco.\u003c/p>\n\u003cp>“In the Russia colony they dress as they do in Russia, and the girls dance on the hills. The Greek colony is also very interesting and the Japanese, but most of all the Chinese,” Frida wrote in a letter to her mother.\u003c/p>\n\u003cp>“She just gushes about Chinatown and she writes about it quite a bit. It reminded her very much, she said, of home. She writes about how she’s convinced that the Mexican people and the Chinese people are connected to one another,” says Stahr.\u003c/p>\n\u003cp>Letters detail how the firecrackers during Chinese New Year festivities reminded Kahlo of street fairs back in Mexico. Silks and other handmade fabrics sold in the shops of Chinatown also caught her eye. She purchased a few to embellish her red leather boots and make into Mexican-style skirts.\u003c/p>\n\u003cp>Kahlo’s style definitely caught the attention of San Franciscans. Her indigenous dress, influenced by the Zapotec women of Tehuantepec, stirred so much excitement on the streets of San Francisco that she reportedly stopped traffic.\u003c/p>\n\u003cfigure id=\"attachment_11848998\" class=\"wp-caption alignright\" style=\"max-width: 345px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848998 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg\" alt=\"\" width=\"345\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633.jpg 345w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAF-0633-160x186.jpg 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo painting a portrait of Mrs. Jean Wight in San Francisco \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The gringas seem to like me a lot and they are really impressed by all the dresses and rebozos I brought with me, they gape at the jade necklaces and all the painters want me to model for the portraits,” Kahlo wrote to her mother.\u003c/p>\n\u003cp>Her bold look catches the attention of well-known photographers Imogen Cunningham and Edward Weston, who ask her to pose for them in San Francisco. Since Kahlo was the daughter of a photographer, she was a natural in front of the camera. A local writer also pens a play about her and Rivera called “\u003ca href=\"https://www.si.edu/object/AAADCD_item_766\">The Queen of Montgomery Street\u003c/a>.”\u003c/p>\n\u003cp>This recognition adds to Frida’s growing artist persona and helped plant the seeds for her eventual rise to icon status.\u003c/p>\n\u003cp>But underneath her colorful garments, Kahlo’s body ached. At 18 she had suffered a horrific street car accident that severely damaged most of her body and exacerbated the chronic pain of her polio leg. Her long walks around San Francisco began to take a toll on her.\u003c/p>\n\u003ch3>New Friends, New Places and New Ideas\u003c/h3>\n\u003cp>That changed when she met \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/portrait-of-dr-leo-eloesser-1931\">Dr. Leo Eloesser\u003c/a>, who would ultimately have a big impact on her life. Eloesser was the chief of thoracic surgery at San Francisco General Hospital and he went above and beyond to treat Kahlo’s foot and leg pain, even showing up at her doorstep when she’d miss her appointments.\u003c/p>\n\u003cp>Beyond his thorough care, he connected with Kahlo and Rivera on a creative level.\u003c/p>\n\u003cp>“Leo was a musician. He played viola and he would have weekly soirees at his flat. And so he was a doctor, but you could say he had the soul of an artist,” said Stahr.\u003c/p>\n\u003cp>The three of them even traveled around Northern California together. One time, Eloesser took Kahlo on her first plane ride. They flew from Oakland to Sacramento to meet up with Rivera who was busy sketching mines and dredgers for his \u003ca href=\"https://www.wikiart.org/en/diego-rivera/allegory-of-california-1931\">“Allegory of California” \u003c/a>mural. One of these excursions proved to be a major turning point for Kahlo’s art.\u003c/p>\n\u003cp>On a trip to Santa Rosa, Rivera and Kahlo visited the garden of the famous horticulturist Luther Burbank, known as “the wizard of horticulture.” He developed more than 800 varieties of fruits, vegetables and plants by cross breeding two kinds together.\u003c/p>\n\u003cfigure id=\"attachment_11849000\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849000 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg\" alt=\"\" width=\"640\" height=\"893\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1020x1424.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-800x1117.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-160x223.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1100x1536.jpg 1100w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-1467x2048.jpg 1467w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46089_castrbhg_pho_1178_01-qut-scaled.jpg 1833w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera and Frida Kahlo at the garden of Luther Burbank in Santa Rosa \u003ccite>(Luther Burbank Home & Gardens Collection--Sonoma County Library Digital Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing how Burbank literally fused together two organisms to create something brand new mesmerized Kahlo. She applies Burbank’s hybrid technique to her art, and what comes out is a \u003ca href=\"https://artsandculture.google.com/story/portrait-of-luther-burbank/fwJiOmp7mtPdLA\">portrait of the horticulturist\u003c/a> as part human and part tree trunk with roots connecting to his buried corpse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"emailsignup","attributes":{"named":{"newslettername":"baycurious","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is really her first major breakthrough creatively, in terms of creating a new style that was very different from what she’d been working on,” explains Stahr.\u003c/p>\n\u003cp>From this point on, Kahlo continued to play with imagery of \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/roots-1943\">roots\u003c/a>, plants and \u003ca href=\"https://www.wikiart.org/en/frida-kahlo/the-wounded-deer-1946\">hybrid bodies\u003c/a> to portray themes of life and death. It’s a duality that was already part of her Mexican upbringing, says Stahr, but a visual style that was honed here in the Bay Area.\u003c/p>\n\u003cp>When Rivera completed his two murals in 1931, the couple briefly went back to Mexico before returning to the U.S. to paint in New York City and Detroit. But it wouldn’t be the last time they visited San Francisco.\u003c/p>\n\u003ch3>Frida and Diego Take on San Francisco a Second Time\u003c/h3>\n\u003cp>When they return a decade later, Kahlo and Rivera are divorced, and they arrive following dramatic circumstances.\u003c/p>\n\u003cp>First came Rivera, who fled Mexican authorities who wanted to question him about the attempted assassination of his former friend and exiled Russian revolutionary, Leon Trotsky.\u003c/p>\n\u003cp>Kahlo wasn’t so lucky. Months later, when Trotsky was actually assassinated, the police detained her for questioning, believing she was an accomplice. (Years prior, she and Rivera offered their Casa Azul to Trotsky and his wife for political asylum). The brief experience in jail left her traumatized.\u003c/p>\n\u003cp>“She was in a terrible emotional state. Physically, she wasn’t doing well. She complained of back and leg pain,” says Stahr.\u003c/p>\n\u003cfigure id=\"attachment_11849008\" class=\"wp-caption alignleft\" style=\"max-width: 599px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11849008 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg\" alt=\"\" width=\"599\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1.jpg 599w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAA-AAA_packemmy_24693-1-160x342.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">A letter Kahlo wrote to Rivera while hospitalized at St. Luke’s \u003ccite>(Archives of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response, her doctors in Mexico advised her to undergo more surgeries. But her friend and trusted doctor, Leo Eloesser, didn’t agree. He felt her emotional health needed tending to, so he prescribed her a better diet, less drinking and advised her to reconcile with Rivera in San Francisco.\u003c/p>\n\u003cp>“[Eloesser] played this important role in their marriage. He was really the go between with their relationship,” explains Stahr.\u003c/p>\n\u003cp>Kahlo took his advice and when she arrived, she resided with Rivera at 42 Calhoun Terrace in Telegraph Hill before letting Eloesser admit her to St. Luke’s Hospital in the Mission District.\u003c/p>\n\u003cp>Meanwhile, Rivera was busy working on his \u003ca href=\"https://www.ccsf.edu/campus-life/arts-ccsf/pan-american-unity-mural\">largest single standing mural\u003c/a>, known as the “Pan American Unity” mural. For months he and his assistants painted in front of a public audience at Treasure Island during the Golden Gate International Exposition. (\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187038\">Watch this video clip\u003c/a> of Rivera and his team painting at Treasure Island.)\u003c/p>\n\u003cp>Once again, Rivera’s art sparked controversy. Not because he painted his communist politics but because he portrayed the cruelty of Nazi Germany. It was his way of urging the U.S. to intervene in World War II and protect all of the Americas, including Mexico.\u003c/p>\n\u003cp>When Kahlo was discharged from the hospital and felt physically and emotionally stronger, she and Rivera remarried at San Francisco City Hall on Rivera’s 54th birthday.\u003c/p>\n\u003cp>The Oakland Tribune snaps a photograph of the couple and this time acknowledges Kahlo as “an artist in her own right.”\u003c/p>\n\u003cfigure id=\"attachment_11848999\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11848999\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg\" alt=\"\" width=\"477\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975.jpg 477w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/AAD-2975-160x134.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Kahlo and Rivera remarry at San Francisco City Hall in 1940 \u003ccite>(San Francisco History Center, San Francisco Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“By 1940 she has achieved quite a bit. You might say she’s at the height of her career at that time,” says Stahr.\u003c/p>\n\u003cp>Her art was exhibited at the World’s Fair on Treasure Island, the Legion of Honor and landed in the hands of an important collector, Albert Bender, who was affiliated with San Francisco Museum of Modern Art — all things that helped give Kahlo wider exposure around the U.S.\u003c/p>\n\u003cp>“You have no idea how marvelous the city is, it helped me a lot to come because it opened my eyes and I’ve seen lots of swell new things,” wrote Kahlo to a friend.*\u003c/p>\n\u003ch3>A Legacy That Keeps Evolving\u003c/h3>\n\u003cp>As much as the Bay Area provided Kahlo and Rivera a platform to create and thrive, the couple also gave San Francisco a lasting blueprint for creativity.\u003c/p>\n\u003cp>“In fact, Coit Tower and the murals there emerge because of Diego’s influence,” says Stahr. Some of the Coit Tower muralists actually trained under Rivera, following in his footsteps by painting large-scale fresco murals that focus on workers and class issues.\u003c/p>\n\u003cp>His work also emboldened muralists at the \u003ca href=\"https://www.atlasobscura.com/places/beach-chalet-wpa-murals\">Beach Chalet\u003c/a> and \u003ca href=\"https://www.foundsf.org/index.php?title=UCSF%27s_Depression-Era_Medical_History_Murals\">UCSF\u003c/a>. Ultimately, his patron’s desire for a mural movement to take off in San Francisco came to fruition.\u003c/p>\n\u003cfigure id=\"attachment_11848992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848992 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg\" alt=\"\" width=\"800\" height=\"1167\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-800x1167.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut-160x233.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46091_s7uB6jO5-qut.jpg 941w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Starting in the 1970s, exhibits and events at La Galería de la Raza in the Mission District helped generate interest and appreciation for Kahlo’s life. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahlo’s body of work also had a monumental impact on Bay Area artists, starting in the 1970s.\u003c/p>\n\u003cp>As many Chicanos and Latinos continued the fight for civil rights and representation, local artists like \u003ca href=\"https://en.wikipedia.org/wiki/Amalia_Mesa-Bains\">Amalia Mesa-Bains\u003c/a> turned to Kahlo and Rivera’s art as a source of empowerment and cultural pride.\u003c/p>\n\u003cp>“We had experienced racism and discrimination and so we needed to reclaim our sense of belonging. Frida and Diego became in many ways models for us, that an artist could be at the same time political and cultural,” says Mesa-Bains.\u003c/p>\n\u003cfigure id=\"attachment_11848993\" class=\"wp-caption alignright\" style=\"max-width: 328px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848993\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg\" alt=\"\" width=\"328\" height=\"429\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut-160x209.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46088_1RZDDcSJ-qut.jpg 791w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Rupert Garcia for the seminal 1978 exhibition. \u003ccite>(Courtesy of Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mesa-Bains and other Chicana/o artists were so moved by Kahlo’s complicated and bold art that they curated an exhibition called “Homenaje a Frida Kahlo” at the\u003ca href=\"http://www.galeriadelaraza.org/\"> Galería de la Raza\u003c/a> in 1978.\u003c/p>\n\u003cp>Artists created works inspired by Kahlo and those who personally knew the couple in San Francisco, such as \u003ca href=\"https://en.wikipedia.org/wiki/Emmy_Lou_Packard\">Emmy Lou Packard\u003c/a>, were invited to share memories of them.\u003c/p>\n\u003cp>This exhibit came at a time when there was very little published about Kahlo’s life and work, so it was seminal to introducing Kahlo to a wider audience before Frida-mania ensued.\u003c/p>\n\u003cp>Today, local artists continue to pay tribute to the two Mexican artists. Rio Yañez’s series, “\u003ca href=\"https://www.flickr.com/photos/elrio/sets/72157594566662293/\">Ghetto Frida\u003c/a>,” imagines Kahlo as a sort of comic book character hanging out at various spots in the pre-gentrified Mission District. And the political ethos of street art in the Bay hearkens back to Rivera’s masterpieces.\u003c/p>\n\u003cp>In 2018, San Francisco city officials renamed a street after Frida Kahlo in front of City College of San Francisco’s main campus, also the permanent home of Diego Rivera’s “\u003ca href=\"https://riveramural.org/\">Pan American Unity” mural\u003c/a>.\u003c/p>\n\u003cp>In what Kahlo called the “city of the world” the lasting brush strokes of Mexico’s most known artists are as vibrant as ever.\u003c/p>\n\u003cfigure id=\"attachment_11848991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11848991 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut-1536x1229.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46090_2009MissionMemories-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2009, Rio Yañez created Ghetto Frida’s ‘Mission Memories’ to pay tribute to the iconic artist and favorite spots growing up in the Mission district. \u003ccite>(Rio Yañez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The translated quotes from Kahlo’s letters to her family that appear in this article have been sourced from Celia Stahr’s book, “\u003ca href=\"https://us.macmillan.com/books/9781250113399\">Frida in America: The Creative Awakening of a Great Artist\u003c/a>.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>* Letter to Kahlos’s friend appears in Frida by Frida collected by Raquel Tibol\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco","authors":["11528"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_1438","news_27626","news_23679","news_5270","news_1247","news_1279"],"featImg":"news_11849393","label":"source_news_11848986"},"arts_11830777":{"type":"posts","id":"arts_11830777","meta":{"index":"posts_1591205157","site":"arts","id":"11830777","score":null,"sort":[1468886561000]},"guestAuthors":[],"slug":"mexican-museum-finally-getting-the-home-it-deserves","title":"Mexican Museum Finally Getting the Home it Deserves","publishDate":1468886561,"format":"standard","headTitle":"Mexican Museum Finally Getting the Home it Deserves | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>After 40 years of delays and false starts, San Francisco’s Mexican Museum is finally getting a new home in the Yerba Buena Art District next to the Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>City and museum officials have scheduled a dedication and cornerstone dedication for Tuesday morning.\u003c/p>\n\u003cp>The museum outgrew its current home in Fort Mason years ago, says museum chairman, Andrew Kluger.\u003c/p>\n\u003cp>“This is the single largest collection of Mexican, Latino, and Chicano art in the U.S., with 17,000 pieces,” Kluger said. Those include about 800 pieces of Mexican folk art donated by the family of Nelson Rockefeller and work by Mexican artist Diego Rivera.\u003c/p>\n\u003cfigure id=\"attachment_11830917\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg\" alt=\"Andrew Kluger, chairman of the board for the Mexican Museum\" width=\"775\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1920x1486.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-960x743.jpg 960w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Kluger, chairman of the board for the Mexican Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger, hired three years ago, says the new space will make it the largest Mexican Museum in the U.S., measuring 60,000 square feet, almost nine times the size of the Fort Mason space and about the same as the CJM and the Jumex Museum in Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But raising the money for the new building, Kluger says, took some work. “It required really a business perspective, and we had to take this museum from a community museum to a national museum level.”\u003c/p>\n\u003cp>Construction of the new museum was delayed again and again, by legal and financial problems, and by clashing egos.\u003c/p>\n\u003cp>“The first change,” Kluger says, “was a complete change in the board of directors. We needed to bring in talent who could raise serious money.”\u003c/p>\n\u003cp>Kluger and the board raised half the cost of construction cost, $30 million, by selling the air rights, the space above the museum’s four floors, to a developer who will build a luxury condo tower. The museum also passed a grueling accreditation process, that itself cost $300,000, to win an affiliation with the Smithsonian Museums. That, Kluger says will make it the Mexican Museum eligible for grants from non-profits and federal funds.\u003c/p>\n\u003cfigure id=\"attachment_11830918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830918\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg\" alt=\"Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-960x480.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger says the museum can also count on help and loans of art from the Mexican government, including \u003cem>Frida and Me\u003c/em>, about Mexican artist Frida Kahlo, the first show scheduled after its opening in the spring of 2019.\u003c/p>\n\u003cp>Kluger says there’s more fund raising to do, $30 million for the endowment and to fully furnish the museum’s interior. Among other donors, Edward James Olmos has pledged to raise $250,000.\u003c/p>\n\u003cp>Kluger notes one man will be sadly missing at the dedication. Peter Rodriguez, who founded the museum in a Mission District storefront in 1975, died at the age of 90 on June 30, after years battling Parkinson’s Disease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think he would be very proud,” Kluger says.\u003c/p>\n\n","blocks":[],"excerpt":"After 40 years of delays, San Francisco’s Mexican Museum is finally getting a new home.","status":"publish","parent":0,"modified":1705033570,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":488},"headData":{"title":"Mexican Museum Finally Getting the Home it Deserves | KQED","description":"After 40 years of delays, San Francisco’s Mexican Museum is finally getting a new home.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11830777/mexican-museum-finally-getting-the-home-it-deserves","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 40 years of delays and false starts, San Francisco’s Mexican Museum is finally getting a new home in the Yerba Buena Art District next to the Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>City and museum officials have scheduled a dedication and cornerstone dedication for Tuesday morning.\u003c/p>\n\u003cp>The museum outgrew its current home in Fort Mason years ago, says museum chairman, Andrew Kluger.\u003c/p>\n\u003cp>“This is the single largest collection of Mexican, Latino, and Chicano art in the U.S., with 17,000 pieces,” Kluger said. Those include about 800 pieces of Mexican folk art donated by the family of Nelson Rockefeller and work by Mexican artist Diego Rivera.\u003c/p>\n\u003cfigure id=\"attachment_11830917\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg\" alt=\"Andrew Kluger, chairman of the board for the Mexican Museum\" width=\"775\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1920x1486.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-960x743.jpg 960w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Kluger, chairman of the board for the Mexican Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger, hired three years ago, says the new space will make it the largest Mexican Museum in the U.S., measuring 60,000 square feet, almost nine times the size of the Fort Mason space and about the same as the CJM and the Jumex Museum in Mexico.\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 raising the money for the new building, Kluger says, took some work. “It required really a business perspective, and we had to take this museum from a community museum to a national museum level.”\u003c/p>\n\u003cp>Construction of the new museum was delayed again and again, by legal and financial problems, and by clashing egos.\u003c/p>\n\u003cp>“The first change,” Kluger says, “was a complete change in the board of directors. We needed to bring in talent who could raise serious money.”\u003c/p>\n\u003cp>Kluger and the board raised half the cost of construction cost, $30 million, by selling the air rights, the space above the museum’s four floors, to a developer who will build a luxury condo tower. The museum also passed a grueling accreditation process, that itself cost $300,000, to win an affiliation with the Smithsonian Museums. That, Kluger says will make it the Mexican Museum eligible for grants from non-profits and federal funds.\u003c/p>\n\u003cfigure id=\"attachment_11830918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830918\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg\" alt=\"Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-960x480.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger says the museum can also count on help and loans of art from the Mexican government, including \u003cem>Frida and Me\u003c/em>, about Mexican artist Frida Kahlo, the first show scheduled after its opening in the spring of 2019.\u003c/p>\n\u003cp>Kluger says there’s more fund raising to do, $30 million for the endowment and to fully furnish the museum’s interior. Among other donors, Edward James Olmos has pledged to raise $250,000.\u003c/p>\n\u003cp>Kluger notes one man will be sadly missing at the dedication. Peter Rodriguez, who founded the museum in a Mission District storefront in 1975, died at the age of 90 on June 30, after years battling Parkinson’s Disease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think he would be very proud,” Kluger says.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11830777/mexican-museum-finally-getting-the-home-it-deserves","authors":["32"],"programs":["arts_1272"],"categories":["arts_835","arts_235","arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11830916","label":"arts_1272"},"news_27701":{"type":"posts","id":"news_27701","meta":{"index":"posts_1591205157","site":"news","id":"27701","score":null,"sort":[1305679889000]},"guestAuthors":[],"slug":"sf-and-mexico-join-forces-to-preserve-diego-rivera-mural","title":"SF and Mexico Join Forces to Preserve Diego Rivera Mural","publishDate":1305679889,"format":"aside","headTitle":"SF and Mexico Join Forces to Preserve Diego Rivera Mural | KQED","labelTerm":{"term":6944,"site":"news"},"content":"\u003cfigure id=\"attachment_27704\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/5731850268_f1af6089fe_b.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-27704 \" title=\"Rivera mural\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/5731850268_f1af6089fe_b-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Frida Kahlo, Rivera's wife and Mexican artist, personifies the cultural union of the Americas for the South as Carter does for the North. Here she wears the traditional dress of Tehuantepec. On the right sit two women on the tree of life left of two children. Rivera depicts himself sitting with Paulette Goddard, Charlie Chaplin's wife. (Photo: Rachel Dornhelm/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco City College’s “\u003ca href=\"http://www.riveramural.com/\">Pan American Unity Mural\u003c/a>” is Diego Rivera’s largest contiguous work of art.\u003c/p>\n\u003cp>It’s sprawling in size AND content. There are images of Yaqui Deer Dancers and early California gold miners, heavy engines of the industrial age, and front and center is \u003ca href=\"http://www.google.com/search?q=frida+kahlo\">Frida Kahlo\u003c/a> — who remarried Rivera in San Francisco while he completed the work.\u003cbr>\nWilliam Maynez is one of the mural’s historian at the college. He says Rivera started the mural as both a bridge between cultures and a comment on the duality of art and science.\u003c/p>\n\u003cp>“In the center of the mural you have an emblem which is basically a hood ornament for the whole thing” says Maynez. “Half of it is a stamping machine that Rivera previously painted \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103337403\">for the Fords in Detroit\u003c/a>. And on the other half is an Aztec goddess \u003ca href=\"http://www.britannica.com/EBchecked/topic/123205/Coatlicue\">Coatlicue\u003c/a>. It speaks to dualities … to yin and yang.”\u003c/p>\n\u003cp>This mural was originally painted on Treasure Island and was intended for City College from the start. But the college building to house the mural was never built. World War II had started and steel and concrete were scarce.\u003c/p>\n\u003cp>So the mural was put in storage until 1961 when the college brought it out to hang in the entryway of the student theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Maynez says the space is just too small. “You should be able to get as far away from a work of art as it is wide,” he says. “Well this is 74 feet wide and you can only get back 14 feet.”\u003c/p>\n\u003cp>He compared seeing the mural up close to viewing it through a keyhole. He says so many nuances of the work are hard to absorb up close.\u003c/p>\n\u003cp>The college wants to construct a new building that could house the mural appropriately, ideally as part of a new arts complex across the street. But funds for the building, and for moving the enormous piece of art, are needed.\u003c/p>\n\u003cp>That’s part of the reason Carlos Felix, the Consul General of Mexico in San Francisco, signed a memorandum of understanding with Dr. Don Griffin the president of City College.\u003c/p>\n\u003cp>Felix says the Mexican government is happy to help with fundraising for a new building, and also provide expertise on the conservation of the mural: “We have experts for preservation of that characteristic that is contained in the mural.” He says they also have experts in moving murals like these.\u003c/p>\n\u003cp>Felix says he especially appreciates the artwork’s message of unity between Mexico and the US: “The message [Rivera] wanted to express in 1940, is still right now well something that is alive and we need to continue spreading that message.”\u003c/p>\n\u003cp>Felix, pointing to panels about the ancient culture of Mexico, alongside a portrayal of Charlie Chaplin in ‘The Great Dictator,” says the historical breadth of the piece is also amazing.\u003c/p>\n\u003cp>“So you see the components too about the Nazis,” Felix says “So that this is a strong message about how it is necessary not to forget bad things in the future.”\u003c/p>\n\u003cp>The first bit of work towards finding a new home for the painting starts in June, when workers will knock a small hole in the wall supporting the mural to feed in a fiber optic cable and confirm how the pieces of the fresco are mounted. That will help determine the cost of moving and remounting it.\u003c/p>\n\u003cp>Maynez says while San Francisco City College and the Mexican Consulate have worked together for many years, the memorandum of understanding is all about the long term future of the art work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today was all about formalizing a relationship,” says Maynez. “So it’s not relationships between people but relationships between institutions, which implies continuity and certainly if this mural is going to be around for 200 years, that’s the kind of relationship you need.”\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1685494318,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":750},"headData":{"title":"SF and Mexico Join Forces to Preserve Diego Rivera Mural | KQED","description":"San Francisco City College's "Pan American Unity Mural" is Diego Rivera's largest contiguous work of art. It's sprawling in size AND content. There are images of Yaqui Deer Dancers and early California gold miners, heavy engines of the industrial age, and front and center is Frida Kahlo -- who remarried Rivera in San Francisco while","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/27701/sf-and-mexico-join-forces-to-preserve-diego-rivera-mural","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_27704\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/5731850268_f1af6089fe_b.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-27704 \" title=\"Rivera mural\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/05/5731850268_f1af6089fe_b-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Frida Kahlo, Rivera's wife and Mexican artist, personifies the cultural union of the Americas for the South as Carter does for the North. Here she wears the traditional dress of Tehuantepec. On the right sit two women on the tree of life left of two children. Rivera depicts himself sitting with Paulette Goddard, Charlie Chaplin's wife. (Photo: Rachel Dornhelm/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco City College’s “\u003ca href=\"http://www.riveramural.com/\">Pan American Unity Mural\u003c/a>” is Diego Rivera’s largest contiguous work of art.\u003c/p>\n\u003cp>It’s sprawling in size AND content. There are images of Yaqui Deer Dancers and early California gold miners, heavy engines of the industrial age, and front and center is \u003ca href=\"http://www.google.com/search?q=frida+kahlo\">Frida Kahlo\u003c/a> — who remarried Rivera in San Francisco while he completed the work.\u003cbr>\nWilliam Maynez is one of the mural’s historian at the college. He says Rivera started the mural as both a bridge between cultures and a comment on the duality of art and science.\u003c/p>\n\u003cp>“In the center of the mural you have an emblem which is basically a hood ornament for the whole thing” says Maynez. “Half of it is a stamping machine that Rivera previously painted \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103337403\">for the Fords in Detroit\u003c/a>. And on the other half is an Aztec goddess \u003ca href=\"http://www.britannica.com/EBchecked/topic/123205/Coatlicue\">Coatlicue\u003c/a>. It speaks to dualities … to yin and yang.”\u003c/p>\n\u003cp>This mural was originally painted on Treasure Island and was intended for City College from the start. But the college building to house the mural was never built. World War II had started and steel and concrete were scarce.\u003c/p>\n\u003cp>So the mural was put in storage until 1961 when the college brought it out to hang in the entryway of the student theater.\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 Maynez says the space is just too small. “You should be able to get as far away from a work of art as it is wide,” he says. “Well this is 74 feet wide and you can only get back 14 feet.”\u003c/p>\n\u003cp>He compared seeing the mural up close to viewing it through a keyhole. He says so many nuances of the work are hard to absorb up close.\u003c/p>\n\u003cp>The college wants to construct a new building that could house the mural appropriately, ideally as part of a new arts complex across the street. But funds for the building, and for moving the enormous piece of art, are needed.\u003c/p>\n\u003cp>That’s part of the reason Carlos Felix, the Consul General of Mexico in San Francisco, signed a memorandum of understanding with Dr. Don Griffin the president of City College.\u003c/p>\n\u003cp>Felix says the Mexican government is happy to help with fundraising for a new building, and also provide expertise on the conservation of the mural: “We have experts for preservation of that characteristic that is contained in the mural.” He says they also have experts in moving murals like these.\u003c/p>\n\u003cp>Felix says he especially appreciates the artwork’s message of unity between Mexico and the US: “The message [Rivera] wanted to express in 1940, is still right now well something that is alive and we need to continue spreading that message.”\u003c/p>\n\u003cp>Felix, pointing to panels about the ancient culture of Mexico, alongside a portrayal of Charlie Chaplin in ‘The Great Dictator,” says the historical breadth of the piece is also amazing.\u003c/p>\n\u003cp>“So you see the components too about the Nazis,” Felix says “So that this is a strong message about how it is necessary not to forget bad things in the future.”\u003c/p>\n\u003cp>The first bit of work towards finding a new home for the painting starts in June, when workers will knock a small hole in the wall supporting the mural to feed in a fiber optic cable and confirm how the pieces of the fresco are mounted. That will help determine the cost of moving and remounting it.\u003c/p>\n\u003cp>Maynez says while San Francisco City College and the Mexican Consulate have worked together for many years, the memorandum of understanding is all about the long term future of the art work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today was all about formalizing a relationship,” says Maynez. “So it’s not relationships between people but relationships between institutions, which implies continuity and certainly if this mural is going to be around for 200 years, that’s the kind of relationship you need.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/27701/sf-and-mexico-join-forces-to-preserve-diego-rivera-mural","authors":["252"],"programs":["news_6944"],"categories":["news_223"],"tags":["news_2863","news_1438","news_1247","news_38"],"label":"news_6944"}},"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/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.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://ww2.kqed.org/app/uploads/2021/10/BBC_1400.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/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2019/07/commonwealthclub.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/Consider-This_3000_V3-copy-scaled-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://ww2.kqed.org/app/uploads/2022/06/forum-logo-900x900tile-1.gif","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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