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"content": "\u003cp>A handful of California College of the Arts students, energized by the movement for Black lives, have started a fundraiser for their classmates, hoping to offset the expense of a private art school education with unrestricted grants of $500–$1,000.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.gofundme.com/f/working-class-bipoc-at-cca-fundraiser\" rel=\"noopener noreferrer\" target=\"_blank\">Working Class & BIPOC Grant Campaign\u003c/a>, launched July 2, seeks to “catalyze the change necessary to make our school viable for all of its students.” The fundraiser’s end goal, beyond raising $35,000, is to push CCA to create a separate scholarship for Black and Indigenous students and students of color.\u003c/p>\n\u003cp>[aside postID='arts_13883757,arts_13877073']Pointing to the high cost of living in the Bay Area and CCA’s 2020–21 tuition of over $50,000, the organizers, a coalition of leaders from five different student groups, hope to address an “unacceptable disconnect between higher education and the BIPOC artist community in the Bay Area.” \u003c/p>\n\u003cp>CCA’s \u003ca href=\"https://www.cca.edu/admissions/facts/\" rel=\"noopener noreferrer\" target=\"_blank\">student body\u003c/a> is 14% Asian American, 13% Hispanic/Latinx and 4% African American. (In 2010, the nine-county Bay Area was 23% Asian, 24% Hispanic/Latinx and 7% African American.)\u003c/p>\n\u003cp>And while CCA distributes millions in institutional financial aid each year, only one named scholarship is specifically earmarked for African American students, with another four categorized as “diversity” scholarships. CCA says it is unable to use race or ethnicity as a deciding factor in bestowing scholarships because of Proposition 209, which most famously ended affirmative action practices at UC schools in 1996. \u003c/p>\n\u003cp>During a nationwide reckoning for racial justice, the student leaders behind the Working Class & BIPOC Grant Campaign have moved quickly and independently to circumnavigate such restrictions, opting instead for mutual aid. Their fundraiser is both functional and symbolic, modeling a program CCA might one day be able to implement (\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-asking-voters-whether-to-repeal-15331604.php\" rel=\"noopener noreferrer\" target=\"_blank\">a repeal of Proposition 209\u003c/a> will appear on state ballots this November). \u003c/p>\n\u003ch2>A Student-Led Campaign\u003c/h2>\n\u003cp>Lindsay Guinan, a third-year animation student, is one of ten student organizers behind the fundraiser. “I’m so grateful to be living through the literal largest civil rights movement to date,” she says. Participating in recent Black Lives Matter protests prompted her to look critically at the communities in which she was already involved: “And CCA is a community that I think desperately needs help in terms of equity for Black students and Indigenous students and students of color.” \u003c/p>\n\u003cp>The fundraiser was originally planned to conclude in October, but Guinan says they may shorten the timeframe to release funds before the fall semester starts on Sept. 3. As of publication, the group, which includes members of the 24 Frames Animation Club, the Black Brilliance Club, the Students of Color Coalition, Student Council and Student Union of California College of the Arts, has raised over $12,000 from 132 donors—a feat achieved in under four weeks. \u003c/p>\n\u003cp>https://www.instagram.com/p/CCt2bnvAJgs/\u003c/p>\n\u003cp>By establishing itself as completely independent from the school, the campaign has both advantages and disadvantages. Funds can be dispersed immediately, without going through official channels, but the campaign has to gather information about who is eligible to receive those funds on their own. To that end, they’ve created a survey for CCA students to complete; Guinan says they received 200 responses in the first two days. \u003c/p>\n\u003cp>Alongside demographic questions about ethnicity and gender identity are queries like, “Have you felt unsafe at CCA due to direct or indirect racism, ableism, transphobia, homophobia, sexism, classism, national origin?” The survey also wants to know if students notified CCA of such experiences and if the school took action in response to any complaints.\u003c/p>\n\u003cp>CCA, like most institutions of higher education across the country, is currently examining its past and current practices regarding racial justice and equity. The \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/\" rel=\"noopener noreferrer\" target=\"_blank\">President’s Diversity Steering Group\u003c/a>, made up of faculty, staff and students, has organized an \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/cca-community-recommendations-racial-justice-equity-initiatives/\" rel=\"noopener noreferrer\" target=\"_blank\">extensive list of recommendations\u003c/a> submitted by members of the CCA community since the national uprisings following the police killing of George Floyd. Among the suggestions are calls to create a center for Black visual culture and curatorial practice, to establish a land acknowledgment on the school’s website, and to require white faculty members to attend anti-racism training. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘More Funding is Needed’\u003c/h2>\n\u003cp>CCA spokesperson Taryn Lott says the school expects the list of current and ongoing initiatives to grow, especially with regards to programming and curriculum, when members of the faculty return from the summer break. As for CCA’s response to the call for additional funding for working class and BIPOC students, Lott wrote in an email, “While CCA has made progress in raising diversity scholarships, college leadership recognizes that more funding is needed and continues to pursue increased support for our students.” Lott says CCA has raised $635,000 toward diversity scholarship awards since May.\u003c/p>\n\u003cp>The school currently distributes $25 million in institutional financial aid, 65% of which Lott says went to BIPOC and working class undergraduate and graduate students last year, which includes U.S. citizens, permanent residents and DACA recipients. Diversity scholarships comprise 10% of the school’s endowment at $3 million. \u003c/p>\n\u003cp>But Guinan says what she’s heard from CCA’s Black students in particular is that the diversity scholarship program doesn’t prioritize them and they often don’t see those funds. The scholarships, according to CCA’s website, are offered to “students from educationally disadvantaged families who have demonstrated academic and artistic achievement, students with demonstrated leadership in service to the community, and students whose work focuses on social or cultural issues.”\u003c/p>\n\u003cp>The Working Class & BIPOC Grant Campaign hopes to disburse $1,000 each to those who need help with rent and larger expenses, and $500 grants for assistance with artist supplies and other “hidden fees that really add up,” Guinan explains. CCA estimates the additional costs of attending the school while living in the Bay Area, factoring in fees, housing, transportation, food and supplies, can amount to around $25,000.\u003c/p>\n\u003cfigure id=\"attachment_13883981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13883981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-768x433.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student projects in the Nave at CCA’s San Francisco campus. \u003ccite>(Nicholas Lea Bruno/CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, \u003ca href=\"https://portal.cca.edu/thriving/health-wellness/novel-coronavirus-covid19/fall-2020-semester-will-be-online/\" rel=\"noopener noreferrer\" target=\"_blank\">CCA announced\u003c/a> all of the upcoming fall semester’s courses will be taught completely remotely due to new guidance from the San Francisco Department of Public Health—not, as the school had hoped, in a combination of in-person and remote instruction. Though the school’s Oakland and San Francisco campuses will be completely closed to students until it is deemed safe to reopen—meaning no access to studios, wood shops, computer labs or the library—the school will continue to offer single-occupancy on-campus housing for students who need or want to live at CCA. \u003c/p>\n\u003cp>Unlike SFAI, which recently \u003ca href=\"https://www.kqed.org/arts/13883757/sfai-reinstates-degree-programs-faculty-students\" rel=\"noopener noreferrer\" target=\"_blank\">enticed students to re-enroll\u003c/a> with offers of a 50% tuition cut, CCA’s 2020–21 tuition is frozen at the previous school year’s rate. The only cuts were to a planned 4% increase. \u003c/p>\n\u003ch2>The Speedy Delivery of Grants\u003c/h2>\n\u003cp>Part of the impetus for keeping the Working Class & BIPOC Grant Campaign separate from the school, Guinan says, was a dissatisfaction with the speed at which CCA was able to disperse coronavirus-related relief funds to the student body. CCA received a total of nearly $1.4 million from the CARES Act fund, half of which will be disbursed in emergency financial aid grants of $500–$3,000 to eligible students between the 2019–20 and 2020–21 school years. Lott says their records indicate 745 students may be eligible to apply for these funds; so far 104 requests have been approved. (Dispersal \u003ca href=\"https://www.forbes.com/sites/wesleywhistle/2020/06/11/devos-finalizes-rule-blocking-undocumented-students-from-cares-act-grants/#2928675675a0\" rel=\"noopener noreferrer\" target=\"_blank\">was slowed\u003c/a> by a lack of guidance from the Department of Education.) \u003c/p>\n\u003cp>Additionally, CCA launched their own emergency fund to assist with students’ basic immediate needs in the face of the pandemic. Of the $30,686 raised, only $4,700 has been distributed to 40 students (decisions are made on a case-by-case basis and factor in the students’ financial aid and financial need) in the form of gift cards to grocery stores, general retailers and an art supplies store.\u003c/p>\n\u003cp>In the spirit of mutual aid, the student-led fundraiser will issue its grants without any such limitations, trusting recipients to know what they themselves need. Guinan hopes the success of this campaign will push the school to ultimately change the way it supports its working class and BIPOC students, from the bottom up. \u003c/p>\n\u003cp>“We all are putting our careers at CCA in some sort of jeopardy in some capacity,” she says. “And I just want to acknowledge that our team is working super hard and tackling this in multiple ways. The energy and the momentum is really strong and I just feel grateful to have this opportunity to hopefully effect some structural change at CCA.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A handful of California College of the Arts students, energized by the movement for Black lives, have started a fundraiser for their classmates, hoping to offset the expense of a private art school education with unrestricted grants of $500–$1,000.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.gofundme.com/f/working-class-bipoc-at-cca-fundraiser\" rel=\"noopener noreferrer\" target=\"_blank\">Working Class & BIPOC Grant Campaign\u003c/a>, launched July 2, seeks to “catalyze the change necessary to make our school viable for all of its students.” The fundraiser’s end goal, beyond raising $35,000, is to push CCA to create a separate scholarship for Black and Indigenous students and students of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pointing to the high cost of living in the Bay Area and CCA’s 2020–21 tuition of over $50,000, the organizers, a coalition of leaders from five different student groups, hope to address an “unacceptable disconnect between higher education and the BIPOC artist community in the Bay Area.” \u003c/p>\n\u003cp>CCA’s \u003ca href=\"https://www.cca.edu/admissions/facts/\" rel=\"noopener noreferrer\" target=\"_blank\">student body\u003c/a> is 14% Asian American, 13% Hispanic/Latinx and 4% African American. (In 2010, the nine-county Bay Area was 23% Asian, 24% Hispanic/Latinx and 7% African American.)\u003c/p>\n\u003cp>And while CCA distributes millions in institutional financial aid each year, only one named scholarship is specifically earmarked for African American students, with another four categorized as “diversity” scholarships. CCA says it is unable to use race or ethnicity as a deciding factor in bestowing scholarships because of Proposition 209, which most famously ended affirmative action practices at UC schools in 1996. \u003c/p>\n\u003cp>During a nationwide reckoning for racial justice, the student leaders behind the Working Class & BIPOC Grant Campaign have moved quickly and independently to circumnavigate such restrictions, opting instead for mutual aid. Their fundraiser is both functional and symbolic, modeling a program CCA might one day be able to implement (\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-asking-voters-whether-to-repeal-15331604.php\" rel=\"noopener noreferrer\" target=\"_blank\">a repeal of Proposition 209\u003c/a> will appear on state ballots this November). \u003c/p>\n\u003ch2>A Student-Led Campaign\u003c/h2>\n\u003cp>Lindsay Guinan, a third-year animation student, is one of ten student organizers behind the fundraiser. “I’m so grateful to be living through the literal largest civil rights movement to date,” she says. Participating in recent Black Lives Matter protests prompted her to look critically at the communities in which she was already involved: “And CCA is a community that I think desperately needs help in terms of equity for Black students and Indigenous students and students of color.” \u003c/p>\n\u003cp>The fundraiser was originally planned to conclude in October, but Guinan says they may shorten the timeframe to release funds before the fall semester starts on Sept. 3. As of publication, the group, which includes members of the 24 Frames Animation Club, the Black Brilliance Club, the Students of Color Coalition, Student Council and Student Union of California College of the Arts, has raised over $12,000 from 132 donors—a feat achieved in under four weeks. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By establishing itself as completely independent from the school, the campaign has both advantages and disadvantages. Funds can be dispersed immediately, without going through official channels, but the campaign has to gather information about who is eligible to receive those funds on their own. To that end, they’ve created a survey for CCA students to complete; Guinan says they received 200 responses in the first two days. \u003c/p>\n\u003cp>Alongside demographic questions about ethnicity and gender identity are queries like, “Have you felt unsafe at CCA due to direct or indirect racism, ableism, transphobia, homophobia, sexism, classism, national origin?” The survey also wants to know if students notified CCA of such experiences and if the school took action in response to any complaints.\u003c/p>\n\u003cp>CCA, like most institutions of higher education across the country, is currently examining its past and current practices regarding racial justice and equity. The \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/\" rel=\"noopener noreferrer\" target=\"_blank\">President’s Diversity Steering Group\u003c/a>, made up of faculty, staff and students, has organized an \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/cca-community-recommendations-racial-justice-equity-initiatives/\" rel=\"noopener noreferrer\" target=\"_blank\">extensive list of recommendations\u003c/a> submitted by members of the CCA community since the national uprisings following the police killing of George Floyd. Among the suggestions are calls to create a center for Black visual culture and curatorial practice, to establish a land acknowledgment on the school’s website, and to require white faculty members to attend anti-racism training. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘More Funding is Needed’\u003c/h2>\n\u003cp>CCA spokesperson Taryn Lott says the school expects the list of current and ongoing initiatives to grow, especially with regards to programming and curriculum, when members of the faculty return from the summer break. As for CCA’s response to the call for additional funding for working class and BIPOC students, Lott wrote in an email, “While CCA has made progress in raising diversity scholarships, college leadership recognizes that more funding is needed and continues to pursue increased support for our students.” Lott says CCA has raised $635,000 toward diversity scholarship awards since May.\u003c/p>\n\u003cp>The school currently distributes $25 million in institutional financial aid, 65% of which Lott says went to BIPOC and working class undergraduate and graduate students last year, which includes U.S. citizens, permanent residents and DACA recipients. Diversity scholarships comprise 10% of the school’s endowment at $3 million. \u003c/p>\n\u003cp>But Guinan says what she’s heard from CCA’s Black students in particular is that the diversity scholarship program doesn’t prioritize them and they often don’t see those funds. The scholarships, according to CCA’s website, are offered to “students from educationally disadvantaged families who have demonstrated academic and artistic achievement, students with demonstrated leadership in service to the community, and students whose work focuses on social or cultural issues.”\u003c/p>\n\u003cp>The Working Class & BIPOC Grant Campaign hopes to disburse $1,000 each to those who need help with rent and larger expenses, and $500 grants for assistance with artist supplies and other “hidden fees that really add up,” Guinan explains. CCA estimates the additional costs of attending the school while living in the Bay Area, factoring in fees, housing, transportation, food and supplies, can amount to around $25,000.\u003c/p>\n\u003cfigure id=\"attachment_13883981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13883981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-768x433.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student projects in the Nave at CCA’s San Francisco campus. \u003ccite>(Nicholas Lea Bruno/CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, \u003ca href=\"https://portal.cca.edu/thriving/health-wellness/novel-coronavirus-covid19/fall-2020-semester-will-be-online/\" rel=\"noopener noreferrer\" target=\"_blank\">CCA announced\u003c/a> all of the upcoming fall semester’s courses will be taught completely remotely due to new guidance from the San Francisco Department of Public Health—not, as the school had hoped, in a combination of in-person and remote instruction. Though the school’s Oakland and San Francisco campuses will be completely closed to students until it is deemed safe to reopen—meaning no access to studios, wood shops, computer labs or the library—the school will continue to offer single-occupancy on-campus housing for students who need or want to live at CCA. \u003c/p>\n\u003cp>Unlike SFAI, which recently \u003ca href=\"https://www.kqed.org/arts/13883757/sfai-reinstates-degree-programs-faculty-students\" rel=\"noopener noreferrer\" target=\"_blank\">enticed students to re-enroll\u003c/a> with offers of a 50% tuition cut, CCA’s 2020–21 tuition is frozen at the previous school year’s rate. The only cuts were to a planned 4% increase. \u003c/p>\n\u003ch2>The Speedy Delivery of Grants\u003c/h2>\n\u003cp>Part of the impetus for keeping the Working Class & BIPOC Grant Campaign separate from the school, Guinan says, was a dissatisfaction with the speed at which CCA was able to disperse coronavirus-related relief funds to the student body. CCA received a total of nearly $1.4 million from the CARES Act fund, half of which will be disbursed in emergency financial aid grants of $500–$3,000 to eligible students between the 2019–20 and 2020–21 school years. Lott says their records indicate 745 students may be eligible to apply for these funds; so far 104 requests have been approved. (Dispersal \u003ca href=\"https://www.forbes.com/sites/wesleywhistle/2020/06/11/devos-finalizes-rule-blocking-undocumented-students-from-cares-act-grants/#2928675675a0\" rel=\"noopener noreferrer\" target=\"_blank\">was slowed\u003c/a> by a lack of guidance from the Department of Education.) \u003c/p>\n\u003cp>Additionally, CCA launched their own emergency fund to assist with students’ basic immediate needs in the face of the pandemic. Of the $30,686 raised, only $4,700 has been distributed to 40 students (decisions are made on a case-by-case basis and factor in the students’ financial aid and financial need) in the form of gift cards to grocery stores, general retailers and an art supplies store.\u003c/p>\n\u003cp>In the spirit of mutual aid, the student-led fundraiser will issue its grants without any such limitations, trusting recipients to know what they themselves need. Guinan hopes the success of this campaign will push the school to ultimately change the way it supports its working class and BIPOC students, from the bottom up. \u003c/p>\n\u003cp>“We all are putting our careers at CCA in some sort of jeopardy in some capacity,” she says. “And I just want to acknowledge that our team is working super hard and tackling this in multiple ways. The energy and the momentum is really strong and I just feel grateful to have this opportunity to hopefully effect some structural change at CCA.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With no reopening date in sight and mounting overhead costs from rents, mortgages, electricity, insurance and other operating expenses, California music venues have found themselves in dire straits. If passed, three new pieces of Congressional legislation would offer financial relief during the pandemic.\u003c/p>\n\u003cp>The Save Our Stages Act (S. 4258) aims to provide six months of financial support to music venues shuttered due to COVID-19. The bipartisan bill, introduced by Senators Amy Klobuchar of Minnesota and John Cornyn of Texas, has support from the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), an alliance with 2,000 members that includes over 100 Northern California concert halls, production companies and promoters.\u003c/p>\n\u003cp>The Save Our Stages Act is intended to support small businesses, and offers a grant equal to 45% of a venue’s 2019 operating expenses or $12 million, whichever is the lesser amount. NIVA is currently running a \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#SaveOurStages campaign\u003c/a> that implores music fans to write their representatives in support of the bill.\u003c/p>\n\u003cp>The act could provide relief for venues that were struggling to stay in the black even before the pandemic in expensive regions like the Bay Area. “All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” Lynn Schwarz of Bottom of the Hill \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in April.\u003c/p>\n\u003cp>Some venues, like Bottom of the Hill, have launched crowdfunding campaigns to support their former employees. Others, such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> and Oakland’s \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spirithaus and Stork Club\u003c/a>, decided to cut their losses and move out of their locations with the hope of reopening after California ends its shelter-in-place orders. That would be after the arrival of a COVID-19 vaccine or therapeutics, which could be months or years away. [aside postid='arts_13880524']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another piece of federal legislation, the RESTART Act (S. 3814), could also be a boon for venues. While not specifically geared towards the music industry, it’s a loan program for small businesses that have suffered at least a 25% decline in business since the start of the pandemic. Music industry giants such as Spotify, Sirius XM Pandora, the Recording Industry Association of America, Sony, Universal and others signed a letter to Congress supporting the bill.\u003c/p>\n\u003cp>And finally, the ENCORES Act (H.R. 7735) offers venues a tax credit for 50% of the value of tickets refunded during the pandemic. Eligible businesses include those that promote, produce, or manage live concerts, comedy shows, sporting events and live theatrical productions, and have fewer than 500 full time-equivalent employees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re in the final stretch in our battle for survival,” Dayna Frank, president of NIVA and CEO First Avenue Productions, said in a statement. “Without federal assistance like ENCORES Act, Save Our Stages Act and RESTART Act, 90% of our members say they will be forced to close forever by the fall. It would not only be the collapse of our industry, it would be devastating to our communities that rely on us as a magnet for commerce.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With no reopening date in sight and mounting overhead costs from rents, mortgages, electricity, insurance and other operating expenses, California music venues have found themselves in dire straits. If passed, three new pieces of Congressional legislation would offer financial relief during the pandemic.\u003c/p>\n\u003cp>The Save Our Stages Act (S. 4258) aims to provide six months of financial support to music venues shuttered due to COVID-19. The bipartisan bill, introduced by Senators Amy Klobuchar of Minnesota and John Cornyn of Texas, has support from the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), an alliance with 2,000 members that includes over 100 Northern California concert halls, production companies and promoters.\u003c/p>\n\u003cp>The Save Our Stages Act is intended to support small businesses, and offers a grant equal to 45% of a venue’s 2019 operating expenses or $12 million, whichever is the lesser amount. NIVA is currently running a \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#SaveOurStages campaign\u003c/a> that implores music fans to write their representatives in support of the bill.\u003c/p>\n\u003cp>The act could provide relief for venues that were struggling to stay in the black even before the pandemic in expensive regions like the Bay Area. “All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” Lynn Schwarz of Bottom of the Hill \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in April.\u003c/p>\n\u003cp>Some venues, like Bottom of the Hill, have launched crowdfunding campaigns to support their former employees. Others, such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> and Oakland’s \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spirithaus and Stork Club\u003c/a>, decided to cut their losses and move out of their locations with the hope of reopening after California ends its shelter-in-place orders. That would be after the arrival of a COVID-19 vaccine or therapeutics, which could be months or years away. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another piece of federal legislation, the RESTART Act (S. 3814), could also be a boon for venues. While not specifically geared towards the music industry, it’s a loan program for small businesses that have suffered at least a 25% decline in business since the start of the pandemic. Music industry giants such as Spotify, Sirius XM Pandora, the Recording Industry Association of America, Sony, Universal and others signed a letter to Congress supporting the bill.\u003c/p>\n\u003cp>And finally, the ENCORES Act (H.R. 7735) offers venues a tax credit for 50% of the value of tickets refunded during the pandemic. Eligible businesses include those that promote, produce, or manage live concerts, comedy shows, sporting events and live theatrical productions, and have fewer than 500 full time-equivalent employees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re in the final stretch in our battle for survival,” Dayna Frank, president of NIVA and CEO First Avenue Productions, said in a statement. “Without federal assistance like ENCORES Act, Save Our Stages Act and RESTART Act, 90% of our members say they will be forced to close forever by the fall. It would not only be the collapse of our industry, it would be devastating to our communities that rely on us as a magnet for commerce.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Planting Justice’s Prison Abolition Work Starts at the Root",
"headTitle": "Planting Justice’s Prison Abolition Work Starts at the Root | KQED",
"content": "\u003cp>[dropcap]R[/dropcap]olling River Nursery is an oasis of tranquility in deep East Oakland, with over 1,100 varieties of fragrant herbs, vibrant flowers, fruit-bearing trees, berry bushes and vegetable beds that stretch on for two acres. As the staff here nurtures the plants, they nurture themselves too—not long ago, many of them were confined to cells in California’s notoriously overcrowded prison system.\u003c/p>\n\u003cp>Rasheed Lockheart, reentry coordinator at \u003ca href=\"https://plantingjustice.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Planting Justice\u003c/a>, the nonprofit that runs the nursery, was released only a few months ago after serving 18 years in San Quentin State Prison for an armed robbery. A few short months after he left the facility, a botched prison transfer sparked a disastrous COVID-19 outbreak in San Quentin. Now, over 1,200 inmates have been infected and 12 have died.\u003c/p>\n\u003cp>Lockheart was fortunate to be home by the time COVID-19 hit San Quentin, but he says he has survivor’s guilt. A couple of the guys he knows are recovering from the illness in \u003ca href=\"https://thestreetspirit.org/2020/07/17/i-am-incarcerated-at-san-quentin-i-have-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">cramped, unsanitary conditions, with inadequate medical care\u003c/a>. The EMTs he worked with when he was a firefighter there are getting triple the amount of emergency calls a day. And a friend wrote him a letter to say goodbye in case he didn’t survive the outbreak.\u003c/p>\n\u003cp>“I would have to imagine it’s like death row. You know an execution’s coming, you’re just not sure when. And that’s tragic,” says Lockheart, looking down and taking a long pause to compose himself.\u003c/p>\n\u003cp>“It breaks my heart to think of some of the good men I left behind because I—it’s like they’re being victimized, you know. We all deserve a second chance. Some of us were on our third or fourth. But no one deserves what’s happening inside of San Quentin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lockheart is doing everything he can to advocate for those on the inside, and his work at Planting Justice is part of that mission. He’s become an unofficial media spokesperson, doing interviews with \u003ca href=\"https://www.kqed.org/arts/13881942/what-would-a-police-free-oakland-look-like\" target=\"_blank\" rel=\"noopener noreferrer\">KQED\u003c/a>, PRX’s \u003ca href=\"https://www.npr.org/podcasts/449018144/snap-judgment\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snap Judgment\u003c/em>\u003c/a> podcast, \u003ca href=\"https://oaklandside.org/2020/07/16/leaving-prison-during-pandemic-and-protest-and-planting-seeds-of-justice/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a> and others, using his firsthand experience and ongoing communication with those inside to shed light on the growing crisis inside California’s prison walls. [aside postid='news_11826188']\u003c/p>\n\u003cp>The same thoughts keep running through his mind. “That guy sitting in his cell wondering if he’s going to outlive his sentence, all the amends he made or wants to make—will he get to see that through? Will he get to be like me and the numerous other people who are formerly incarcerated and are doing great things in the community right now? I think about them and that my voice has to be in advocacy for them.”\u003c/p>\n\u003cfigure id=\"attachment_13883867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/thumb_IMG_5467_1024-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024.jpg 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rasheed Lockheart and Ashley Yates (left to right) of Planting Justice. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eyond the urgency of the San Quentin COVID outbreak, Lockheart’s day-to-day work at Planting Justice is about the longterm project of prison abolition, which means working with people to build healthier communities. The definition of that is manifold. It means helping formerly incarcerated people get on their feet through green jobs at Planting Justice, awakening them to a new sense of purpose by building raised flower beds for clients and tending to plants at the organization’s \u003ca href=\"https://plantingjustice.org/nursery-sogorea-te\" target=\"_blank\" rel=\"noopener noreferrer\">nursery\u003c/a> and \u003ca href=\"https://plantingjustice.org/farm\" target=\"_blank\" rel=\"noopener noreferrer\">farm\u003c/a>. It means \u003ca href=\"https://plantingjustice.org/food-justice-education\" target=\"_blank\" rel=\"noopener noreferrer\">teaching\u003c/a> about sustainability and food justice in public school classrooms, juvenile detention centers, jails and prisons. It means helping people who live in food deserts start \u003ca href=\"https://plantingjustice.org/community-justice-garden-hub-1\" target=\"_blank\" rel=\"noopener noreferrer\">urban gardens\u003c/a>. It means handing out free kale smoothies at Castlemont High School during a time when many are going hungry because of the pandemic-induced recession.\u003c/p>\n\u003cp>“If we go in and teach these people how to grow their own food and how to be sustainable—the Black Panther Party got it right,” Lockheart says. “With no food and no options, [people are] gonna go get it how they can. And unfortunately, that’s crime. And crime equals prison. We wanna abolish the prisons, we wanna abolish all these systems, but we first have to plant the seeds of love, trust and sustainability.”\u003c/p>\n\u003cp>Lockheart and his fellow reentry coordinator Diane Williams sow those seeds by helping their colleagues get acclimated to life outside of prison, sometimes in ways people who’ve never been incarcerated may take for granted. Planting Justice gives “former residents,” as formerly incarcerated people are called there, clothing and food stipends; Lockheart and Williams help them navigate bureaucratic tasks such as reinstating a drivers license after a DUI. They offer emotional support too. Meditation circles are as much a part of the workday as pulling weeds and watering strawberries and squashes.\u003c/p>\n\u003cp>“Really it’s believing in them and whatever they bring to the table that’s positive, encourage that,” says Williams, who brings 40 years of social work and substance-abuse counseling experience to Planting Justice. “So much stuff that happened to us as a little kids, we keep recycling it as adults until we process it and move on. So we’re just helping each other move on here.” [aside postid='arts_13881199']\u003c/p>\n\u003cp>[dropcap]P[/dropcap]lanting Justice takes a big-picture view of how access to healthy and environmentally conscious practices can help address some of the wounds of systemic racism and mass incarceration. Another one of the organization’s projects zooms out even further, addressing the ways the unjust systems that marginalize Black and Indigenous communities began with colonialism.\u003c/p>\n\u003cp>The organization collaborated with the \u003ca href=\"https://sogoreate-landtrust.org/?fbclid=IwAR3CPRen3DnT-giCwsXsgKRDdW_4BfzVk2gO88NN1lbbvnXsiuPR4gqgpfY\" target=\"_blank\" rel=\"noopener noreferrer\">Sogorea Te Land Trust\u003c/a> to give two acres of land back to people of the Ohlone community of Northern California. The Ohlone people aren’t a federally recognized tribe, nor do they have a land base. Now, two acres of the Rolling River Nursery are an Ohlone cultural heritage site and a space for ceremony.\u003c/p>\n\u003cfigure id=\"attachment_13883868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/thumb_IMG_5485_1024-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024.jpg 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rolling River Nursery in East Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams, who is part of the Native American community and helped organize the partnership, says that Ohlone ideas of land as sacred inform Planting Justice’s work. “It’s a love,” she says. “You can’t tell people, ‘You’ve got to love this land because it’s supporting you.’ No. It’s something you have to develop for people who’ve been separated from the land.”\u003c/p>\n\u003cp>“Understanding the history of colonization is the deeper work,” echoes Planting Justice media director Ashley Yates. “When you control the land, you control the people, you control the resources. And when we’re talking about BIPOC communities, you understand there’s also a disconnect that’s intentional because our spirituality and our communities are vested in the earth. We are an earth-reverent people. So when you disconnect people from that, you disconnect people from their power.”\u003c/p>\n\u003cp>[pullquote citation='Rasheed Lockheart']“We wanna abolish the prisons, we wanna abolish all these systems, but we first have to plant the seeds of love, trust and sustainability.”[/pullquote]\u003c/p>\n\u003cp>Yates moved to Oakland and began working with Planting Justice after leaving her hometown of St. Louis, Missouri. She was a frontline activist when the first major Black Lives Matter protests erupted after police officer Darren Wilson killed Ferguson teenager Mike Brown. She feared for her safety after the protests, recalling militarized police tanks parked outside her house. Oakland drew her because of its history of Black organizing, and she’s found a calling within Planting Justice’s environmental form of civil rights activism.\u003c/p>\n\u003cp>“A lot of the time you have to get into the soil, into the root,” she says.\u003c/p>\n\u003cp>Mass incarceration, food insecurity, land sovereignty—the interlocking issues Planting Justice tries to address with a few acres of soil, some plants and a small team of a few dozen staff members are overwhelming in scope. But the day-to-day ritual of working the land provides solace, too, and some hope that a more just future will grow from each seed planted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what nature does, it reminds us of how free things are,” Lockheart says. “I don’t think you realize how free you are until you’re amongst things that are actually free.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>olling River Nursery is an oasis of tranquility in deep East Oakland, with over 1,100 varieties of fragrant herbs, vibrant flowers, fruit-bearing trees, berry bushes and vegetable beds that stretch on for two acres. As the staff here nurtures the plants, they nurture themselves too—not long ago, many of them were confined to cells in California’s notoriously overcrowded prison system.\u003c/p>\n\u003cp>Rasheed Lockheart, reentry coordinator at \u003ca href=\"https://plantingjustice.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Planting Justice\u003c/a>, the nonprofit that runs the nursery, was released only a few months ago after serving 18 years in San Quentin State Prison for an armed robbery. A few short months after he left the facility, a botched prison transfer sparked a disastrous COVID-19 outbreak in San Quentin. Now, over 1,200 inmates have been infected and 12 have died.\u003c/p>\n\u003cp>Lockheart was fortunate to be home by the time COVID-19 hit San Quentin, but he says he has survivor’s guilt. A couple of the guys he knows are recovering from the illness in \u003ca href=\"https://thestreetspirit.org/2020/07/17/i-am-incarcerated-at-san-quentin-i-have-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">cramped, unsanitary conditions, with inadequate medical care\u003c/a>. The EMTs he worked with when he was a firefighter there are getting triple the amount of emergency calls a day. And a friend wrote him a letter to say goodbye in case he didn’t survive the outbreak.\u003c/p>\n\u003cp>“I would have to imagine it’s like death row. You know an execution’s coming, you’re just not sure when. And that’s tragic,” says Lockheart, looking down and taking a long pause to compose himself.\u003c/p>\n\u003cp>“It breaks my heart to think of some of the good men I left behind because I—it’s like they’re being victimized, you know. We all deserve a second chance. Some of us were on our third or fourth. But no one deserves what’s happening inside of San Quentin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lockheart is doing everything he can to advocate for those on the inside, and his work at Planting Justice is part of that mission. He’s become an unofficial media spokesperson, doing interviews with \u003ca href=\"https://www.kqed.org/arts/13881942/what-would-a-police-free-oakland-look-like\" target=\"_blank\" rel=\"noopener noreferrer\">KQED\u003c/a>, PRX’s \u003ca href=\"https://www.npr.org/podcasts/449018144/snap-judgment\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snap Judgment\u003c/em>\u003c/a> podcast, \u003ca href=\"https://oaklandside.org/2020/07/16/leaving-prison-during-pandemic-and-protest-and-planting-seeds-of-justice/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a> and others, using his firsthand experience and ongoing communication with those inside to shed light on the growing crisis inside California’s prison walls. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The same thoughts keep running through his mind. “That guy sitting in his cell wondering if he’s going to outlive his sentence, all the amends he made or wants to make—will he get to see that through? Will he get to be like me and the numerous other people who are formerly incarcerated and are doing great things in the community right now? I think about them and that my voice has to be in advocacy for them.”\u003c/p>\n\u003cfigure id=\"attachment_13883867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/thumb_IMG_5467_1024-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5467_1024.jpg 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rasheed Lockheart and Ashley Yates (left to right) of Planting Justice. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eyond the urgency of the San Quentin COVID outbreak, Lockheart’s day-to-day work at Planting Justice is about the longterm project of prison abolition, which means working with people to build healthier communities. The definition of that is manifold. It means helping formerly incarcerated people get on their feet through green jobs at Planting Justice, awakening them to a new sense of purpose by building raised flower beds for clients and tending to plants at the organization’s \u003ca href=\"https://plantingjustice.org/nursery-sogorea-te\" target=\"_blank\" rel=\"noopener noreferrer\">nursery\u003c/a> and \u003ca href=\"https://plantingjustice.org/farm\" target=\"_blank\" rel=\"noopener noreferrer\">farm\u003c/a>. It means \u003ca href=\"https://plantingjustice.org/food-justice-education\" target=\"_blank\" rel=\"noopener noreferrer\">teaching\u003c/a> about sustainability and food justice in public school classrooms, juvenile detention centers, jails and prisons. It means helping people who live in food deserts start \u003ca href=\"https://plantingjustice.org/community-justice-garden-hub-1\" target=\"_blank\" rel=\"noopener noreferrer\">urban gardens\u003c/a>. It means handing out free kale smoothies at Castlemont High School during a time when many are going hungry because of the pandemic-induced recession.\u003c/p>\n\u003cp>“If we go in and teach these people how to grow their own food and how to be sustainable—the Black Panther Party got it right,” Lockheart says. “With no food and no options, [people are] gonna go get it how they can. And unfortunately, that’s crime. And crime equals prison. We wanna abolish the prisons, we wanna abolish all these systems, but we first have to plant the seeds of love, trust and sustainability.”\u003c/p>\n\u003cp>Lockheart and his fellow reentry coordinator Diane Williams sow those seeds by helping their colleagues get acclimated to life outside of prison, sometimes in ways people who’ve never been incarcerated may take for granted. Planting Justice gives “former residents,” as formerly incarcerated people are called there, clothing and food stipends; Lockheart and Williams help them navigate bureaucratic tasks such as reinstating a drivers license after a DUI. They offer emotional support too. Meditation circles are as much a part of the workday as pulling weeds and watering strawberries and squashes.\u003c/p>\n\u003cp>“Really it’s believing in them and whatever they bring to the table that’s positive, encourage that,” says Williams, who brings 40 years of social work and substance-abuse counseling experience to Planting Justice. “So much stuff that happened to us as a little kids, we keep recycling it as adults until we process it and move on. So we’re just helping each other move on here.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>lanting Justice takes a big-picture view of how access to healthy and environmentally conscious practices can help address some of the wounds of systemic racism and mass incarceration. Another one of the organization’s projects zooms out even further, addressing the ways the unjust systems that marginalize Black and Indigenous communities began with colonialism.\u003c/p>\n\u003cp>The organization collaborated with the \u003ca href=\"https://sogoreate-landtrust.org/?fbclid=IwAR3CPRen3DnT-giCwsXsgKRDdW_4BfzVk2gO88NN1lbbvnXsiuPR4gqgpfY\" target=\"_blank\" rel=\"noopener noreferrer\">Sogorea Te Land Trust\u003c/a> to give two acres of land back to people of the Ohlone community of Northern California. The Ohlone people aren’t a federally recognized tribe, nor do they have a land base. Now, two acres of the Rolling River Nursery are an Ohlone cultural heritage site and a space for ceremony.\u003c/p>\n\u003cfigure id=\"attachment_13883868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/thumb_IMG_5485_1024-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/thumb_IMG_5485_1024.jpg 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rolling River Nursery in East Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams, who is part of the Native American community and helped organize the partnership, says that Ohlone ideas of land as sacred inform Planting Justice’s work. “It’s a love,” she says. “You can’t tell people, ‘You’ve got to love this land because it’s supporting you.’ No. It’s something you have to develop for people who’ve been separated from the land.”\u003c/p>\n\u003cp>“Understanding the history of colonization is the deeper work,” echoes Planting Justice media director Ashley Yates. “When you control the land, you control the people, you control the resources. And when we’re talking about BIPOC communities, you understand there’s also a disconnect that’s intentional because our spirituality and our communities are vested in the earth. We are an earth-reverent people. So when you disconnect people from that, you disconnect people from their power.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yates moved to Oakland and began working with Planting Justice after leaving her hometown of St. Louis, Missouri. She was a frontline activist when the first major Black Lives Matter protests erupted after police officer Darren Wilson killed Ferguson teenager Mike Brown. She feared for her safety after the protests, recalling militarized police tanks parked outside her house. Oakland drew her because of its history of Black organizing, and she’s found a calling within Planting Justice’s environmental form of civil rights activism.\u003c/p>\n\u003cp>“A lot of the time you have to get into the soil, into the root,” she says.\u003c/p>\n\u003cp>Mass incarceration, food insecurity, land sovereignty—the interlocking issues Planting Justice tries to address with a few acres of soil, some plants and a small team of a few dozen staff members are overwhelming in scope. But the day-to-day ritual of working the land provides solace, too, and some hope that a more just future will grow from each seed planted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what nature does, it reminds us of how free things are,” Lockheart says. “I don’t think you realize how free you are until you’re amongst things that are actually free.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Art Institute has never been a dull place, and this is especially true as it struggles with financial solvency. \u003c/p>\n\u003cp>In a reversal of a previously announced suspension of regular courses and all degree programs, the 150-year-old school \u003ca href=\"https://sfai.edu/uploads/about-sfai/SFAI-Reinstates-Degree-Programs_Press-Release_22July2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">declared Wednesday\u003c/a> it would reinstate its degree programs for the upcoming academic year. SFAI has resolved contract disputes with the school’s faculty union, and will keep all 15 tenured faculty employed through the spring 2021 semester regardless of whether or not enough students return to hold classes.[aside postID='arts_13878509']\u003c/p>\n\u003cp>In order to do so, the announcement continues, the school will need to raise an additional $4.5 million. In a statement, Board Chair Pam Rorke Levy said SFAI has received an “outpouring of support” since their late \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" rel=\"noopener noreferrer\" target=\"_blank\">March announcement\u003c/a> of financial troubles, raising over $4 million in recent months—three times their normal annual fundraising efforts, according to Levy. \u003c/p>\n\u003cp>$1.5 million of that comes from gifts shifted from the school’s endowment to its general operating fund with the permission of the donors. While board members were involved in negotiating these shifts, sources close to the board expressed skepticism to KQED about the trustees’ ability to raise an additional $4.5 million.\u003c/p>\n\u003cp>The school is now engaged in a process of courting back 79 undergraduate and graduate students who would be eligible to complete their degrees by the end of the spring 2021 semester. Tenured faculty have been sending emails to those students at the administration’s request.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We can’t apologize enough for what you’ve been through,” reads one email forwarded to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/sf-art-institute-reaches-deal-to-bring-students-back-after-sending-them-away-but-will-they-return\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Chronicle\u003c/a>\u003c/i>. “As an initial inquiry, might (and I stress might) you consider returning to SFAI to complete your degree with us should classes be extended throughout the 2020/21 academic year.”\u003c/p>\n\u003cp>Just four months ago, these same students were told to pursue placement at other schools. Many have already transferred to California College of the Arts or put their academic careers on hold, unable to afford a move during a pandemic or unenthused about other institutions. \u003c/p>\n\u003cp>Part of the incentive to return to SFAI, the school hopes, is a tuition cut of 50% for both undergraduates and graduates. But as \u003ca href=\"https://missionlocal.org/2020/07/bank-moves-to-foreclose-on-san-francisco-art-institute/\" rel=\"noopener noreferrer\" target=\"_blank\">Mission Local reported\u003c/a> last week, the school is also facing foreclosure on its Chestnut Street campus, which serves as collateral on a $19 million loan from Boston Private & Trust Company. \u003c/p>\n\u003cfigure id=\"attachment_13878519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2018 MFA exhibition at SFAI’s Fort Mason campus. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet SFAI says this issue will be resolved by the end of the summer. Classes for the fall semester would begin in late August; the courses offered would depend on who enrolls and what degree programs they’re completing. All fall classes would take place remotely, though SFAI hopes by the spring, the city’s health restrictions would allow in-person classes to resume. There are no current plans to rehire any of SFAI’s 69 laid-off adjunct faculty, who once taught 75% of the institution’s instructional hours. \u003c/p>\n\u003cp>But it may be too late to regain the trust of the school’s now-scattered students. In interviews with a half-dozen SFAI students over the past four months, all expressed frustration and heartbreak. Some characterized what seemed (then) to be the end of their time at SFAI as “a rollercoaster” at best, “an abusive relationship” at worst.\u003c/p>\n\u003cp>[aside postID='arts_13877340']For many students, committing to art school—and specifically to SFAI—was a leap of faith, which the institution subsequently invalidated through its own announcements and reversals. Kavena Hambira, an MFA film student who began his studies at SFAI only in January of this year, left behind a job and life in Namibia to pursue documentary filmmaking. Touring various programs, SFAI alone met all his needs, and in the few weeks he enjoyed in-person classes and critiques before the campuses shut down due to the coronavirus, he felt he had made the right decision. \u003c/p>\n\u003cp>After so recently joining the SFAI student body, the school’s insistence he suddenly transfer elsewhere put into question his entire career path. “For years I’ve been conditioned to suppress my artistic side,” Hambira explained in April. “And when I finally emerged from that conditioning and take that plunge, this is the fear your loved ones have for you … that you won’t make any money.”\u003c/p>\n\u003cp>Oscar Lopez, an MFA painting student originally from Mexico City, shared Hambira’s sentiments. Lopez also attended SFAI as an undergrad, and said the school helped him find his voice as an artist. “You are in that time in life that you find a thing you want to do and you’re doing it with all your soul because you really want to do it—and it’s just taken away,” he said in April of the school’s apparent closure. “My future that I tried to make here in America as an immigrant and a Latino is getting destroyed by someone else’s decisions.”\u003c/p>\n\u003cp>For Hambira and Lopez, the challenge of transferring into another graduate program partway through their studies was further complicated by the fact that they had both received scholarships from SFAI. How could they enroll in another school without the guarantee of comparable financial aid?\u003c/p>\n\u003cp>SFAI has approached Lopez about returning to the MFA program, but he says he needs the school to make its plan—and what they’re offering him—abundantly clear before he can make a decision. “Honesty and communication is not the forte,” he says.\u003c/p>\n\u003cp>For now, Hambira is taking summer classes at SFAI remotely and weighing his options between two different local grad programs—the re-enrollment offer from SFAI doesn’t match up with the three semesters he has left to complete his degree. He has also joined the new Committee to Re-Imagine SFAI, a volunteer group of students, alumni, staff, faculty and board members that will \u003ca href=\"https://mcusercontent.com/474fab67307e81a3e3e175e37/files/985c6e1d-4265-4715-bb06-eb0d253b49b5/Committee_to_Re_Imagine_SFAI.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">make a proposal\u003c/a> to the board of trustees about their vision for the institution’s future.\u003c/p>\n\u003cp>Whether or not SFAI will have the ability to implement that reimagined future depends on its financial sustainability, its structure (a merger still isn’t out of the question) and its ability to attract a new cohort of students given its track record.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After everything the school has put its students, staff and faculty through in recent months, Hambira’s words from April ring true once again: “You need to think about the ethics of this decision and how ethical it is to just rip the hearts out of people’s chests like that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In order to do so, the announcement continues, the school will need to raise an additional $4.5 million. In a statement, Board Chair Pam Rorke Levy said SFAI has received an “outpouring of support” since their late \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" rel=\"noopener noreferrer\" target=\"_blank\">March announcement\u003c/a> of financial troubles, raising over $4 million in recent months—three times their normal annual fundraising efforts, according to Levy. \u003c/p>\n\u003cp>$1.5 million of that comes from gifts shifted from the school’s endowment to its general operating fund with the permission of the donors. While board members were involved in negotiating these shifts, sources close to the board expressed skepticism to KQED about the trustees’ ability to raise an additional $4.5 million.\u003c/p>\n\u003cp>The school is now engaged in a process of courting back 79 undergraduate and graduate students who would be eligible to complete their degrees by the end of the spring 2021 semester. Tenured faculty have been sending emails to those students at the administration’s request.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can’t apologize enough for what you’ve been through,” reads one email forwarded to the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/sf-art-institute-reaches-deal-to-bring-students-back-after-sending-them-away-but-will-they-return\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Chronicle\u003c/a>\u003c/i>. “As an initial inquiry, might (and I stress might) you consider returning to SFAI to complete your degree with us should classes be extended throughout the 2020/21 academic year.”\u003c/p>\n\u003cp>Just four months ago, these same students were told to pursue placement at other schools. Many have already transferred to California College of the Arts or put their academic careers on hold, unable to afford a move during a pandemic or unenthused about other institutions. \u003c/p>\n\u003cp>Part of the incentive to return to SFAI, the school hopes, is a tuition cut of 50% for both undergraduates and graduates. But as \u003ca href=\"https://missionlocal.org/2020/07/bank-moves-to-foreclose-on-san-francisco-art-institute/\" rel=\"noopener noreferrer\" target=\"_blank\">Mission Local reported\u003c/a> last week, the school is also facing foreclosure on its Chestnut Street campus, which serves as collateral on a $19 million loan from Boston Private & Trust Company. \u003c/p>\n\u003cfigure id=\"attachment_13878519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13878519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/12_SFAI-Vernissage-2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2018 MFA exhibition at SFAI’s Fort Mason campus. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet SFAI says this issue will be resolved by the end of the summer. Classes for the fall semester would begin in late August; the courses offered would depend on who enrolls and what degree programs they’re completing. All fall classes would take place remotely, though SFAI hopes by the spring, the city’s health restrictions would allow in-person classes to resume. There are no current plans to rehire any of SFAI’s 69 laid-off adjunct faculty, who once taught 75% of the institution’s instructional hours. \u003c/p>\n\u003cp>But it may be too late to regain the trust of the school’s now-scattered students. In interviews with a half-dozen SFAI students over the past four months, all expressed frustration and heartbreak. Some characterized what seemed (then) to be the end of their time at SFAI as “a rollercoaster” at best, “an abusive relationship” at worst.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For many students, committing to art school—and specifically to SFAI—was a leap of faith, which the institution subsequently invalidated through its own announcements and reversals. Kavena Hambira, an MFA film student who began his studies at SFAI only in January of this year, left behind a job and life in Namibia to pursue documentary filmmaking. Touring various programs, SFAI alone met all his needs, and in the few weeks he enjoyed in-person classes and critiques before the campuses shut down due to the coronavirus, he felt he had made the right decision. \u003c/p>\n\u003cp>After so recently joining the SFAI student body, the school’s insistence he suddenly transfer elsewhere put into question his entire career path. “For years I’ve been conditioned to suppress my artistic side,” Hambira explained in April. “And when I finally emerged from that conditioning and take that plunge, this is the fear your loved ones have for you … that you won’t make any money.”\u003c/p>\n\u003cp>Oscar Lopez, an MFA painting student originally from Mexico City, shared Hambira’s sentiments. Lopez also attended SFAI as an undergrad, and said the school helped him find his voice as an artist. “You are in that time in life that you find a thing you want to do and you’re doing it with all your soul because you really want to do it—and it’s just taken away,” he said in April of the school’s apparent closure. “My future that I tried to make here in America as an immigrant and a Latino is getting destroyed by someone else’s decisions.”\u003c/p>\n\u003cp>For Hambira and Lopez, the challenge of transferring into another graduate program partway through their studies was further complicated by the fact that they had both received scholarships from SFAI. How could they enroll in another school without the guarantee of comparable financial aid?\u003c/p>\n\u003cp>SFAI has approached Lopez about returning to the MFA program, but he says he needs the school to make its plan—and what they’re offering him—abundantly clear before he can make a decision. “Honesty and communication is not the forte,” he says.\u003c/p>\n\u003cp>For now, Hambira is taking summer classes at SFAI remotely and weighing his options between two different local grad programs—the re-enrollment offer from SFAI doesn’t match up with the three semesters he has left to complete his degree. He has also joined the new Committee to Re-Imagine SFAI, a volunteer group of students, alumni, staff, faculty and board members that will \u003ca href=\"https://mcusercontent.com/474fab67307e81a3e3e175e37/files/985c6e1d-4265-4715-bb06-eb0d253b49b5/Committee_to_Re_Imagine_SFAI.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">make a proposal\u003c/a> to the board of trustees about their vision for the institution’s future.\u003c/p>\n\u003cp>Whether or not SFAI will have the ability to implement that reimagined future depends on its financial sustainability, its structure (a merger still isn’t out of the question) and its ability to attract a new cohort of students given its track record.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After everything the school has put its students, staff and faculty through in recent months, Hambira’s words from April ring true once again: “You need to think about the ethics of this decision and how ethical it is to just rip the hearts out of people’s chests like that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>The organization had been able to keep up with payroll expenses over the past three months with the aid of a PPP loan of around $1.5 million. Cullinan said those funds have now run out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each laid-off employee will receive up to 12 weeks of severance pay based on tenure, and three months of health insurance, said Cullinan, who added that she spoke with each laid-off employee individually.\u003c/p>\n\u003cp>The remaining 44 employees will see salary cuts of 5%–12%, with the highest reductions at the top level of the organization.\u003c/p>\n\u003cp>“As an organization that cares deeply about its employees, we held off on making these changes as long as our finances would allow,” Cullinan said. “We also carefully considered equity in all of our decision making.”\u003c/p>\n\u003cp>Cullinan said a few staffers with skills that are currently in demand—like technical production and project management—have been given the chance to step into new positions.\u003c/p>\n\u003cp>Cullinan described the new organizational structure as a group of “pods.” “We have a pod of people that will be working primarily on strategy and revenue. We have a pod focused on program and public engagement. Then we have a pod working around marketing, communication and technology. And our operations pod is sort of the wrap-around,” Cullinan said.\u003c/p>\n\u003cp>The re-organization has led to a slight increase in the number of employees from underrepresented backgrounds, at least in terms of ethnicity.\u003c/p>\n\u003cp>Before the cuts were announced, 43.6% of YBCA staffers self-identified as Black, Indigenous and people of color (BIPOC). Now, 47% of the remaining staff identify as BIPOC.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>, one of YBCA’s funders. The foundation made a $390,000 grant to support YBCA’s performing arts programming in March.\u003c/p>\n\u003cp>YBCA’s announcement follows large job cuts at other prominent San Francisco cultural institutions, including the \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13881318/sfmoma-announces-layoffs-and-reduced-schedules-for-55-employees\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a>, the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sf-arts-groups-face-48-million-loss-in-coronavirus-shutdown-study-says\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13882075/de-young-legion-of-honor-announce-layoffs-and-furloughs-for-47-staff\" target=\"_blank\" rel=\"noopener noreferrer\">Fine Arts Museums of San Francisco\u003c/a>.\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on public art, digital programming and linking artists with financial relief and career opportunities.\u003c/p>\n\u003cp>Key programs include a collaboration with the community-based film nonprofit \u003ca href=\"https://sfurbanfilmfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Urban Film Fest\u003c/a> to reignite YBCA’s screen offerings and the \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>, a platform the center launched in May focused on connecting artists with resources and opportunities. YBCA is also hoping to continue and expand existing initiatives like \u003ca href=\"https://ybca.org/culture-bank/\" target=\"_blank\" rel=\"noopener noreferrer\">CultureBank\u003c/a>, a collaboration with artists in West Oakland, and \u003ca href=\"https://ybca.org/ybca-100/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA 100\u003c/a>, aimed at bringing together creative “fellows” to help instigate social change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What we are focused on is creating more opportunities for more artists to be deeply involved at YBCA,” Cullinan said. “We want to work deeply and over time on game-changing projects.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA) is the latest in a wave of major local arts organizations forced to make sweeping cuts as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>Chief Executive Officer Deborah Cullinan said she had to let go 27 of her 71 employees, roughly one third of YBCA’s staff, on Tuesday. She said most of the layoffs are for full-time positions, with a few part-timers in the mix, and the majority of the losses are in the event-production field.\u003c/p>\n\u003cp>“The positions that we are losing are those associated with being able to open our spaces and produce meetings and conferences and performances,” Cullinan said in an interview with KQED.\u003c/p>\n\u003cp>Dependent on live event ticket sales, space rentals and grants, YBCA lost $3.5 million in gross revenue this past fiscal year, and anticipates almost twice as much of a shortfall in the coming year.\u003c/p>\n\u003cp>The organization had been able to keep up with payroll expenses over the past three months with the aid of a PPP loan of around $1.5 million. Cullinan said those funds have now run out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each laid-off employee will receive up to 12 weeks of severance pay based on tenure, and three months of health insurance, said Cullinan, who added that she spoke with each laid-off employee individually.\u003c/p>\n\u003cp>The remaining 44 employees will see salary cuts of 5%–12%, with the highest reductions at the top level of the organization.\u003c/p>\n\u003cp>“As an organization that cares deeply about its employees, we held off on making these changes as long as our finances would allow,” Cullinan said. “We also carefully considered equity in all of our decision making.”\u003c/p>\n\u003cp>Cullinan said a few staffers with skills that are currently in demand—like technical production and project management—have been given the chance to step into new positions.\u003c/p>\n\u003cp>Cullinan described the new organizational structure as a group of “pods.” “We have a pod of people that will be working primarily on strategy and revenue. We have a pod focused on program and public engagement. Then we have a pod working around marketing, communication and technology. And our operations pod is sort of the wrap-around,” Cullinan said.\u003c/p>\n\u003cp>The re-organization has led to a slight increase in the number of employees from underrepresented backgrounds, at least in terms of ethnicity.\u003c/p>\n\u003cp>Before the cuts were announced, 43.6% of YBCA staffers self-identified as Black, Indigenous and people of color (BIPOC). Now, 47% of the remaining staff identify as BIPOC.\u003c/p>\n\u003cp>“This announcement reveals the impossible choices YBCA and other organizations are facing,” said Emiko Ono, performing arts program director for the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>, one of YBCA’s funders. The foundation made a $390,000 grant to support YBCA’s performing arts programming in March.\u003c/p>\n\u003cp>YBCA’s announcement follows large job cuts at other prominent San Francisco cultural institutions, including the \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13881318/sfmoma-announces-layoffs-and-reduced-schedules-for-55-employees\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13877959/hundreds-of-exploratorium-workers-face-layoffs-salary-reductions-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a>, the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sf-arts-groups-face-48-million-loss-in-coronavirus-shutdown-study-says\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13882075/de-young-legion-of-honor-announce-layoffs-and-furloughs-for-47-staff\" target=\"_blank\" rel=\"noopener noreferrer\">Fine Arts Museums of San Francisco\u003c/a>.\u003c/p>\n\u003cp>Cullinan said going forward, YBCA plans to focus more deeply on public art, digital programming and linking artists with financial relief and career opportunities.\u003c/p>\n\u003cp>Key programs include a collaboration with the community-based film nonprofit \u003ca href=\"https://sfurbanfilmfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Urban Film Fest\u003c/a> to reignite YBCA’s screen offerings and the \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>, a platform the center launched in May focused on connecting artists with resources and opportunities. YBCA is also hoping to continue and expand existing initiatives like \u003ca href=\"https://ybca.org/culture-bank/\" target=\"_blank\" rel=\"noopener noreferrer\">CultureBank\u003c/a>, a collaboration with artists in West Oakland, and \u003ca href=\"https://ybca.org/ybca-100/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA 100\u003c/a>, aimed at bringing together creative “fellows” to help instigate social change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What we are focused on is creating more opportunities for more artists to be deeply involved at YBCA,” Cullinan said. “We want to work deeply and over time on game-changing projects.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With COVID-19 cases climbing across the state, it’s unclear when California will advance to further stages of its reopening, and concerts and live performances are still far off in the future. That means many artists are missing out on income—and the data say as much, with the state reporting that \u003ca href=\"https://deadline.com/2020/07/california-unemployment-arts-entertainment-workers-coronavirus-1202990100/\" target=\"_blank\" rel=\"noopener noreferrer\">230,000 arts workers\u003c/a> have filed for unemployment since the state began sheltering in place. Of course, official numbers don’t account for those who previously subsisted on cash payments and aren’t eligible for government aid.\u003c/p>\n\u003cp>To help artists in these uncertain times, Red Bull launched a new microgrant program in 20 cities, including Oakland. The company is awarding two artists a month $1,000 each through the end of the year, and the grant application is now \u003ca href=\"https://win.gs/rbamicrogrant\" target=\"_blank\" rel=\"noopener noreferrer\">live\u003c/a>. The grants aren’t restricted to creative discipline, and artists are free to use the funds in whatever way suits their needs, including on living expenses. A panel of artists and activists from each city will review and select the grantees.\u003c/p>\n\u003cp>More details \u003ca href=\"https://win.gs/rbamicrogrant\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With COVID-19 cases climbing across the state, it’s unclear when California will advance to further stages of its reopening, and concerts and live performances are still far off in the future. That means many artists are missing out on income—and the data say as much, with the state reporting that \u003ca href=\"https://deadline.com/2020/07/california-unemployment-arts-entertainment-workers-coronavirus-1202990100/\" target=\"_blank\" rel=\"noopener noreferrer\">230,000 arts workers\u003c/a> have filed for unemployment since the state began sheltering in place. Of course, official numbers don’t account for those who previously subsisted on cash payments and aren’t eligible for government aid.\u003c/p>\n\u003cp>To help artists in these uncertain times, Red Bull launched a new microgrant program in 20 cities, including Oakland. The company is awarding two artists a month $1,000 each through the end of the year, and the grant application is now \u003ca href=\"https://win.gs/rbamicrogrant\" target=\"_blank\" rel=\"noopener noreferrer\">live\u003c/a>. The grants aren’t restricted to creative discipline, and artists are free to use the funds in whatever way suits their needs, including on living expenses. A panel of artists and activists from each city will review and select the grantees.\u003c/p>\n\u003cp>More details \u003ca href=\"https://win.gs/rbamicrogrant\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Burger Boogaloo Festival Cuts Ties with Record Label After Sex Abuse Allegations",
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"content": "\u003cp>\u003cem>\u003cstrong>Update, July 22, 10:13am: \u003c/strong>After announcing plans to rebrand following allegations of abuse, Burger Records shut down completely, \u003ca href=\"https://pitchfork.com/news/burger-records-shuts-down-completely/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork reports\u003c/a>. The label plans to remove all of its releases from streaming services, though co-founder Sean Bohrman said artists are free to re-upload their music themselves. \u003c/em>\u003c/p>\n\u003cp>This week, numerous women came forward with accusations of sexual assault and misconduct against several bands affiliated with Southern California rock label Burger Records. And today, the organizers of its namesake Oakland festival, Burger Boogaloo, announced they’re severing ties with the label and changing the festival name.\u003c/p>\n\u003cp>Claims of abuse surfaced on the Instagram account \u003ca href=\"https://www.instagram.com/Lured_By_Burger_Records/\" target=\"_blank\" rel=\"noopener noreferrer\">@Lured_By_Burger_Records\u003c/a>, which accused numerous musicians in the label’s orbit of rape, sexual harassment, emotional and physical abuse and sexual coercion of teenage girls. While some of the accusers are anonymous, others are notable musicians in the garage, punk and indie rock scenes.\u003c/p>\n\u003cp>Lydia Night, singer of The Regrettes, \u003ca href=\"https://www.instagram.com/p/CC4EzRqsU7U/\" target=\"_blank\" rel=\"noopener noreferrer\">accused\u003c/a> SWMRS drummer Joey Armstrong (son of Green Day frontman Billie Joe Armstrong) of pressuring her into a secretive, sexually coercive relationship when he was 22 and she was 16. (Armstrong has since published \u003ca href=\"https://www.instagram.com/p/CC6mefugfNX/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a> to her on the band’s Instagram.) Cherry Glazerr singer Clementine Creevy \u003ca href=\"https://www.instagram.com/p/CCqb8P3FJb5/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">came forward\u003c/a> with accusations of statutory rape against The Buttertones’ Sean Redman, who she said pressured her into a sexual relationship when she was 14 and gave her two sexually transmitted infections. (On Instagram, The Buttertones posted that Redman is out of the band before deleting their account.)\u003c/p>\n\u003cp>The @Lured_By_Burger_Records account also features screen shots of sexual misconduct accusations, many of them anonymous, against musicians from the bands Cosmonauts, The Growlers, The Black Lips, Magic Jake, Audacity and others. The accusers’ testimonies allege a pattern of older, male musicians pressuring mostly underage fans for sexual favors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In response to the allegations, Burger Records released a statement on Monday promising structural changes at the label. Co-founder Sean Bohrman has been placed into a “transitional role,” and the other co-founder, Lee Rickard, stepped down as president. Jessa Zapor-Gray stepped in as interim label president, and the label has rebranded as BRGR RECS “to create a clear delineation between the old and the new Burger Records.” Furthermore, the label vowed to create an all-woman imprint called BRGRRRL, work with experts in consent education and set up a fund to pay for counseling for “those who suffered such trauma while engaging in the Burger scene.”\u003c/p>\n\u003cp>Still, some accusers and their supporters see these amends as insufficient. “Jessa, you can’t skip the difficult steps of authentically coming to terms with what this label has done (and coming to terms with your own decision to try to lend them credibility at this crucial time) and skip to the easier steps of planning hypothetical safe spaces at hypothetical future shows. Address the past and present abuse before trying to skate into the company’s imaginary future,” wrote the @Lured_By_Burger_Records account. “You are NOT trying to build a ‘new’ label. If that’s what you were doing, you would be so well supported! You’re trying to re-brand an existing label (in a comically bad way, btw) in order to distract from years of rampant and systemic predation, for the convenience of its ownership, and to possibly further your own career?”\u003c/p>\n\u003cp>Reached by KQED through their publicist, Burger Boogaloo organizers Marc Ribak and Amy Carver of Total Trash Productions said that they broke from Burger Records after hearing of the allegations on Monday night. “The label’s involvement was always fairly superficial, and Burger Records never profited from ticket sales; They simply lent their name to the festival, boosted the festival via social media, and were given a merch booth on the premises,” wrote Ribak and Carver.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their statement continues: “As the organizers of Burger Boogaloo, we accept responsibility for what happens at the event, and while we have always worked to take swift actions in removing individuals from the event or our line-up who have acted violent or inappropriate, we know that we can always do better.” Their next show is still slated for July 2021, with feminist punk band Bikini Kill as the headliner. A new festival name has yet to be announced. Read the full text of Ribak and Carver’s statement \u003ca href=\"https://burgerboogaloo.com/dear-fans/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update, July 22, 10:13am: \u003c/strong>After announcing plans to rebrand following allegations of abuse, Burger Records shut down completely, \u003ca href=\"https://pitchfork.com/news/burger-records-shuts-down-completely/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork reports\u003c/a>. The label plans to remove all of its releases from streaming services, though co-founder Sean Bohrman said artists are free to re-upload their music themselves. \u003c/em>\u003c/p>\n\u003cp>This week, numerous women came forward with accusations of sexual assault and misconduct against several bands affiliated with Southern California rock label Burger Records. And today, the organizers of its namesake Oakland festival, Burger Boogaloo, announced they’re severing ties with the label and changing the festival name.\u003c/p>\n\u003cp>Claims of abuse surfaced on the Instagram account \u003ca href=\"https://www.instagram.com/Lured_By_Burger_Records/\" target=\"_blank\" rel=\"noopener noreferrer\">@Lured_By_Burger_Records\u003c/a>, which accused numerous musicians in the label’s orbit of rape, sexual harassment, emotional and physical abuse and sexual coercion of teenage girls. While some of the accusers are anonymous, others are notable musicians in the garage, punk and indie rock scenes.\u003c/p>\n\u003cp>Lydia Night, singer of The Regrettes, \u003ca href=\"https://www.instagram.com/p/CC4EzRqsU7U/\" target=\"_blank\" rel=\"noopener noreferrer\">accused\u003c/a> SWMRS drummer Joey Armstrong (son of Green Day frontman Billie Joe Armstrong) of pressuring her into a secretive, sexually coercive relationship when he was 22 and she was 16. (Armstrong has since published \u003ca href=\"https://www.instagram.com/p/CC6mefugfNX/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a> to her on the band’s Instagram.) Cherry Glazerr singer Clementine Creevy \u003ca href=\"https://www.instagram.com/p/CCqb8P3FJb5/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">came forward\u003c/a> with accusations of statutory rape against The Buttertones’ Sean Redman, who she said pressured her into a sexual relationship when she was 14 and gave her two sexually transmitted infections. (On Instagram, The Buttertones posted that Redman is out of the band before deleting their account.)\u003c/p>\n\u003cp>The @Lured_By_Burger_Records account also features screen shots of sexual misconduct accusations, many of them anonymous, against musicians from the bands Cosmonauts, The Growlers, The Black Lips, Magic Jake, Audacity and others. The accusers’ testimonies allege a pattern of older, male musicians pressuring mostly underage fans for sexual favors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In response to the allegations, Burger Records released a statement on Monday promising structural changes at the label. Co-founder Sean Bohrman has been placed into a “transitional role,” and the other co-founder, Lee Rickard, stepped down as president. Jessa Zapor-Gray stepped in as interim label president, and the label has rebranded as BRGR RECS “to create a clear delineation between the old and the new Burger Records.” Furthermore, the label vowed to create an all-woman imprint called BRGRRRL, work with experts in consent education and set up a fund to pay for counseling for “those who suffered such trauma while engaging in the Burger scene.”\u003c/p>\n\u003cp>Still, some accusers and their supporters see these amends as insufficient. “Jessa, you can’t skip the difficult steps of authentically coming to terms with what this label has done (and coming to terms with your own decision to try to lend them credibility at this crucial time) and skip to the easier steps of planning hypothetical safe spaces at hypothetical future shows. Address the past and present abuse before trying to skate into the company’s imaginary future,” wrote the @Lured_By_Burger_Records account. “You are NOT trying to build a ‘new’ label. If that’s what you were doing, you would be so well supported! You’re trying to re-brand an existing label (in a comically bad way, btw) in order to distract from years of rampant and systemic predation, for the convenience of its ownership, and to possibly further your own career?”\u003c/p>\n\u003cp>Reached by KQED through their publicist, Burger Boogaloo organizers Marc Ribak and Amy Carver of Total Trash Productions said that they broke from Burger Records after hearing of the allegations on Monday night. “The label’s involvement was always fairly superficial, and Burger Records never profited from ticket sales; They simply lent their name to the festival, boosted the festival via social media, and were given a merch booth on the premises,” wrote Ribak and Carver.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their statement continues: “As the organizers of Burger Boogaloo, we accept responsibility for what happens at the event, and while we have always worked to take swift actions in removing individuals from the event or our line-up who have acted violent or inappropriate, we know that we can always do better.” Their next show is still slated for July 2021, with feminist punk band Bikini Kill as the headliner. A new festival name has yet to be announced. Read the full text of Ribak and Carver’s statement \u003ca href=\"https://burgerboogaloo.com/dear-fans/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "BottleRock Music Festival Postponed to 2021 as COVID Numbers Rise",
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"content": "\u003cp>After initially postponing its May 2020 dates to October of this year, \u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley\u003c/a> announced today that the music, arts and culinary festival will take place on May 28—30, 2021 at the Napa Valley Expo. Headliners Stevie Nicks, Red Hot Chili Peppers and Dave Matthews Band will still perform, and all 2020 passes will be honored for the new dates. Ticket holders can also request refunds.\u003c/p>\n\u003cp>The move comes as COVID-19 cases continue to rise across California. Earlier this week, the state scaled back some of its reopening efforts with an order to close all indoor bars and restaurants. New COVID-19 cases in California exceeded \u003ca href=\"https://www.nytimes.com/2020/07/16/us/california-coronavirus-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">10,000 a day\u003c/a> for the first time on Tuesday.\u003c/p>\n\u003cp>\u003ca href=\"https://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a>, the punk and garage rock festival hosted in Oakland’s Mosswood Park every year, also rescheduled for the second time this week. Featuring Bikini Kill and the Circle Jerks, the festival was originally postponed from July 2020 to October 2020, and is now postponed again to July 2021. Likewise, the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands Music and Arts Festival\u003c/a>, which draws tens of thousands of fans to San Francisco’s Golden Gate Park every August, moved its dates to August 2021 with Lizzo, Tame Impala and the Strokes as headliners. Refunds are available to Outside Lands and Burger Boogaloo ticket holders as well.\u003c/p>\n\u003cp>\u003cem>—Nastia Voynovskaya (\u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener noreferrer\">@nananastia\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After initially postponing its May 2020 dates to October of this year, \u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley\u003c/a> announced today that the music, arts and culinary festival will take place on May 28—30, 2021 at the Napa Valley Expo. Headliners Stevie Nicks, Red Hot Chili Peppers and Dave Matthews Band will still perform, and all 2020 passes will be honored for the new dates. Ticket holders can also request refunds.\u003c/p>\n\u003cp>The move comes as COVID-19 cases continue to rise across California. Earlier this week, the state scaled back some of its reopening efforts with an order to close all indoor bars and restaurants. New COVID-19 cases in California exceeded \u003ca href=\"https://www.nytimes.com/2020/07/16/us/california-coronavirus-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">10,000 a day\u003c/a> for the first time on Tuesday.\u003c/p>\n\u003cp>\u003ca href=\"https://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a>, the punk and garage rock festival hosted in Oakland’s Mosswood Park every year, also rescheduled for the second time this week. Featuring Bikini Kill and the Circle Jerks, the festival was originally postponed from July 2020 to October 2020, and is now postponed again to July 2021. Likewise, the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands Music and Arts Festival\u003c/a>, which draws tens of thousands of fans to San Francisco’s Golden Gate Park every August, moved its dates to August 2021 with Lizzo, Tame Impala and the Strokes as headliners. Refunds are available to Outside Lands and Burger Boogaloo ticket holders as well.\u003c/p>\n\u003cp>\u003cem>—Nastia Voynovskaya (\u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener noreferrer\">@nananastia\u003c/a>)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) has outlined preliminary plans to evaluate which of the city’s nearly one hundred public monuments and memorials should stay—and which should go.\u003c/p>\n\u003cp>[aside postID='news_11826151,news_11825103,arts_13870742' label='Monuments in SF']The plan, ordered by Mayor London Breed, comes less than a month after \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">protesters toppled\u003c/a> several statues depicting controversial historical figures such as Junípero Serra and Ulysses S. Grant, and planned to pull down the statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">Christoper Columbus\u003c/a> in front of Coit Tower.\u003c/p>\n\u003cp>At a public meeting Wednesday, Visual Arts Committee Chair Dorka Keehn said she welcomes the chance to explore which monuments align with the city’s values.\u003c/p>\n\u003cp>“This is a really important and I think very exciting opportunity to look at our our old memorials and what we want to see represented in the city in the future,” Keehn said.\u003c/p>\n\u003cp>Keehn explained the city will look at factors like the story behind the historical figure the work depicts, the reputation of the artist who made it, how the community has responded to the work during its existence, and the cost of removing and storing it.\u003c/p>\n\u003cfigure id=\"attachment_13883457\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/ColumbusStorage.jpg\" alt=\"\" width=\"1280\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-768x576.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Christopher Columbus statue being removed from its plinth in front of Coit Tower in the early morning of June 18. \u003ccite>(SF Gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cost is a huge issue. Like other city departments facing cuts in the COVID-19 economic fallout, the city’s civic art budget has been slashed from close to $900,000 to just over $110,000 for 2021. And the bill for preparing and moving the toppled Columbus statue, and storing it for just one year, comes to $110,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keehn said when the criteria are in place, the city will move towards the second phase of the project—assessing the monuments themselves. She added that San Francisco is looking to other cities facing similar challenges with statues, like New York and Louisville, Kentucky, for guidance on that front.\u003c/p>\n\u003cp>“There are monuments in other cities that have been vandalized, that have had a negative response from the community,” Keehn said. “And so we’re going to be targeting those artworks first among our our larger group.”\u003c/p>\n\u003cp>The SFAC is partnering with the city’s Human Rights Commission and Recreation & Parks Department in an effort to engage the community in the process.\u003c/p>\n\u003cp>But the commission may face some pushback in its engagement efforts.\u003c/p>\n\u003cp>Several members of the public, as well as—in a highly unusual move—arts commission staffers, voiced their concerns at the meeting about the city’s broader monuments strategy and past handling of similar projects.\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Lava Thomas read a statement criticizing the city’s \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">process to commission\u003c/a> a new monument honoring poet Maya Angelou last year.\u003c/p>\n\u003cp>Thomas was prevented from clinching the prized assignment even though she was the arts commission’s leading choice of artist, after city officials said her proposed design wasn’t representational enough.\u003c/p>\n\u003cp>The artist accused the city of “weaponizing a European convention of statuary … by insisting that Dr. Angelou be honored ‘in the same way that men have historically been elevated in this city’—the very same men whose monuments embody white supremacy that have been toppled and removed.”\u003c/p>\n\u003cp>Arts commission officials wouldn’t allow Thomas to finish \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/LavaThomas_MayaAngelou_VAC_07152020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">her statement\u003c/a> because of time restrictions. This caused an outcry among other people present at the meeting, including fellow Black artist Sirron Norris, who was presenting a mural design for a construction fence outside the Southeast Treatment Plant in Bayview.\u003c/p>\n\u003cp>“I think it’s a time where we don’t hamper Black voices and we need to listen,” Norris said. “I’m going to let people know what I just heard because I’m angry. This shit is wrong.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read Lava Thomas’ full statement, provided to KQED, below:\u003c/p>\n\u003cblockquote>\u003cp>I’d like to address the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou for the San Francisco Library. First, I’d like to commend the SFAC staff for their professionalism during that process last year.\u003c/p>\n\u003cp>When the Visual Arts Committee failed to approve, under political pressure, the selection of my proposal in the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou, it upheld practices that are rooted in institutional racism. My proposal was selected, almost unanimously, by a panel that included a critical mass of Black women artists and arts professionals in a process that was transparent and democratic. My proposal was grounded in an ethos of inclusion and Black Aesthetics, followed the project and legislative guidelines which have “statue” crossed out and “artwork” written in its place.\u003c/p>\n\u003cp>Supervisor Catherine Stefani then demanded that the project be closed, calling for a traditional statue and weaponizing a European convention of statuary to reject my work by insisting that Dr. Angelou be honored “in the same way that men have historically been elevated in this city”—the very same men who embody white supremacy in monuments that have recently been toppled and removed. Stefani’s manner was rude and arrogant, and she left the VAC meeting before I and the other Black women in attendance had an opportunity to voice our concerns. This public display of disrespect and public rejection of Black women’s intellectual and creative labor is an affront to myself and the other Black women who were present.\u003c/p>\n\u003cp>When will the Arts Commission, the Visual Arts Committee, Supervisor Stefani and the SF Board of Supervisors take restorative action to remedy this egregious injustice?\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) has outlined preliminary plans to evaluate which of the city’s nearly one hundred public monuments and memorials should stay—and which should go.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The plan, ordered by Mayor London Breed, comes less than a month after \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">protesters toppled\u003c/a> several statues depicting controversial historical figures such as Junípero Serra and Ulysses S. Grant, and planned to pull down the statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">Christoper Columbus\u003c/a> in front of Coit Tower.\u003c/p>\n\u003cp>At a public meeting Wednesday, Visual Arts Committee Chair Dorka Keehn said she welcomes the chance to explore which monuments align with the city’s values.\u003c/p>\n\u003cp>“This is a really important and I think very exciting opportunity to look at our our old memorials and what we want to see represented in the city in the future,” Keehn said.\u003c/p>\n\u003cp>Keehn explained the city will look at factors like the story behind the historical figure the work depicts, the reputation of the artist who made it, how the community has responded to the work during its existence, and the cost of removing and storing it.\u003c/p>\n\u003cfigure id=\"attachment_13883457\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/ColumbusStorage.jpg\" alt=\"\" width=\"1280\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-768x576.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Christopher Columbus statue being removed from its plinth in front of Coit Tower in the early morning of June 18. \u003ccite>(SF Gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cost is a huge issue. Like other city departments facing cuts in the COVID-19 economic fallout, the city’s civic art budget has been slashed from close to $900,000 to just over $110,000 for 2021. And the bill for preparing and moving the toppled Columbus statue, and storing it for just one year, comes to $110,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keehn said when the criteria are in place, the city will move towards the second phase of the project—assessing the monuments themselves. She added that San Francisco is looking to other cities facing similar challenges with statues, like New York and Louisville, Kentucky, for guidance on that front.\u003c/p>\n\u003cp>“There are monuments in other cities that have been vandalized, that have had a negative response from the community,” Keehn said. “And so we’re going to be targeting those artworks first among our our larger group.”\u003c/p>\n\u003cp>The SFAC is partnering with the city’s Human Rights Commission and Recreation & Parks Department in an effort to engage the community in the process.\u003c/p>\n\u003cp>But the commission may face some pushback in its engagement efforts.\u003c/p>\n\u003cp>Several members of the public, as well as—in a highly unusual move—arts commission staffers, voiced their concerns at the meeting about the city’s broader monuments strategy and past handling of similar projects.\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Lava Thomas read a statement criticizing the city’s \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">process to commission\u003c/a> a new monument honoring poet Maya Angelou last year.\u003c/p>\n\u003cp>Thomas was prevented from clinching the prized assignment even though she was the arts commission’s leading choice of artist, after city officials said her proposed design wasn’t representational enough.\u003c/p>\n\u003cp>The artist accused the city of “weaponizing a European convention of statuary … by insisting that Dr. Angelou be honored ‘in the same way that men have historically been elevated in this city’—the very same men whose monuments embody white supremacy that have been toppled and removed.”\u003c/p>\n\u003cp>Arts commission officials wouldn’t allow Thomas to finish \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/LavaThomas_MayaAngelou_VAC_07152020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">her statement\u003c/a> because of time restrictions. This caused an outcry among other people present at the meeting, including fellow Black artist Sirron Norris, who was presenting a mural design for a construction fence outside the Southeast Treatment Plant in Bayview.\u003c/p>\n\u003cp>“I think it’s a time where we don’t hamper Black voices and we need to listen,” Norris said. “I’m going to let people know what I just heard because I’m angry. This shit is wrong.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read Lava Thomas’ full statement, provided to KQED, below:\u003c/p>\n\u003cblockquote>\u003cp>I’d like to address the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou for the San Francisco Library. First, I’d like to commend the SFAC staff for their professionalism during that process last year.\u003c/p>\n\u003cp>When the Visual Arts Committee failed to approve, under political pressure, the selection of my proposal in the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou, it upheld practices that are rooted in institutional racism. My proposal was selected, almost unanimously, by a panel that included a critical mass of Black women artists and arts professionals in a process that was transparent and democratic. My proposal was grounded in an ethos of inclusion and Black Aesthetics, followed the project and legislative guidelines which have “statue” crossed out and “artwork” written in its place.\u003c/p>\n\u003cp>Supervisor Catherine Stefani then demanded that the project be closed, calling for a traditional statue and weaponizing a European convention of statuary to reject my work by insisting that Dr. Angelou be honored “in the same way that men have historically been elevated in this city”—the very same men who embody white supremacy in monuments that have recently been toppled and removed. Stefani’s manner was rude and arrogant, and she left the VAC meeting before I and the other Black women in attendance had an opportunity to voice our concerns. This public display of disrespect and public rejection of Black women’s intellectual and creative labor is an affront to myself and the other Black women who were present.\u003c/p>\n\u003cp>When will the Arts Commission, the Visual Arts Committee, Supervisor Stefani and the SF Board of Supervisors take restorative action to remedy this egregious injustice?\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "SFMOMA Senior Curator Gary Garrels Resigns After ‘Reverse Discrimination’ Comments",
"headTitle": "SFMOMA Senior Curator Gary Garrels Resigns After ‘Reverse Discrimination’ Comments | KQED",
"content": "\u003cp>\u003ci>Updated July 15, 11am\u003c/i>\u003c/p>\n\u003cp>Gary Garrels, the San Francisco Museum of Modern Art’s senior curator of painting and sculpture, announced his resignation on Saturday following an uproar over comments made at an all-staff Zoom meeting last week. His final day at the museum will be July 31.\u003c/p>\n\u003cp>[aside tag='sfmoma' label='More from SFMOMA']\u003c/p>\n\u003cp>Garrels was confronted in the July 7 staff meeting, Artnet \u003ca href=\"https://news.artnet.com/art-world/gary-garrels-departure-sfmoma-1893964\" rel=\"noopener noreferrer\" target=\"_blank\">first reported\u003c/a>, about statements he had previously made concerning the museum’s collection priorities. At a time when museums are being called upon to diversify their holdings beyond the work of Western, white male artists, an \u003ca href=\"https://www.instagram.com/p/CB9QPOYlt5U/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram post\u003c/a> on the account @changethemuseum claimed that a white senior curator (widely understood to be Garrels) had ended a presentation about recent acquisitions of work by artists of color saying, “Don’t worry, we will definitely still continue to collect white artists.”\u003c/p>\n\u003cp>Garrels shared a similar sentiment while speaking publicly during a February 2020 panel at the FOG Design+Art Fair titled “Ways of Being Seen: Creating Visibility for Women in Art.”\u003c/p>\n\u003cp>“You’ve got this huge mountain you’re scaling to get to parity, to get to balance. It’s going to take a lot of time,” he said. “The other thing I have to say, and I’ve reassured artists, we will continue to collect white men. There are a lot of great women artists, but there are also still a lot of good men out there working as well.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" src=\"https://www.youtube.com/embed/BQnoV_iAAfo?start=1340\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>When panel moderator Sarah Douglas, editor in chief of ARTnews, suggested one approach would be to stop collecting work by white male artists for a period of time (as the Baltimore Museum of Art \u003ca href=\"https://www.baltimoresun.com/entertainment/arts/bs-fe-bma-female-artists-2020-20191115-33s5hjjnqfghzhmwkt7dqbargq-story.html\" rel=\"noopener noreferrer\" target=\"_blank\">announced it would do\u003c/a> in 2020), Garrels said, “I just don’t agree with that. That’s an alternative, different kind of profiling.”\u003c/p>\n\u003cp>In last week’s staff meeting, Garrels said avoiding the work of white men would amount to “reverse discrimination,” a phrase he later described as “an extremely poor choice of words.” A group of former museum employees organized under the name \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">xSFM0MA\u003c/a> quickly created \u003ca href=\"https://www.change.org/p/xsfm0ma-we-are-calling-for-the-resignation-of-sfmoma-senior-curator-gary-garrels\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> calling for Garrels’ resignation, writing, “Gary’s removal from SFMOMA is non-negotiable. Considering his lengthy tenure at this institution, we ask just how long have his toxic white supremacist beliefs regarding race and equity directed his position curating the content of the museum?”\u003c/p>\n\u003cp>Garrels first worked at SFMOMA from 1993 to 2000 and returned to the museum in 2008 after curatorial positions at the Museum of Modern Art in New York and the Hammer Museum in Los Angeles. As ARTnews has \u003ca href=\"https://www.artnews.com/art-news/news/sfmoma-protest-letter-1202692108/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a>, Garrels received a no-interest home loan for $500,000 from SFMOMA, approved by the museum’s board. (Museum director Neal Benezra received a $800,000 no-interest home loan.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recently, Garrels organized SFMOMA’s 2019 \u003ca href=\"https://www.kqed.org/arts/13848287/in-vija-celmins-work-looking-is-a-multisensory-experience\" rel=\"noopener noreferrer\" target=\"_blank\">Vija Celmins retrospective\u003c/a> and led, with chief curator Janet Bishop, the deaccession and sale of a Mark Rothko painting from the museum’s collection. Funds from the $50.1 million sale (an endowment named the Peggy Guggenheim Fund after the Rothko’s original donor), have now been used to accession 110 artworks across curatorial departments. The initial purchases of 11 works \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-11-new-acquisitions-by-10-modern-and-contemporary-artists-to-strategically-diversify-the-collection/\" rel=\"noopener noreferrer\" target=\"_blank\">were announced\u003c/a> as part of a concerted effort to diversify the museum’s holdings with works by female artists, artists of color and self-identifying LGBTQ+ artists.\u003c/p>\n\u003cp>“I deeply and personally apologize to all of you for any hurt I may have caused,” Garrels wrote in an all-staff email announcing his resignation. “I am so proud of this museum and I am proud of the work I have been able to do with so many of you. But I realize that in the current climate, I can no longer effectively work at SFMOMA, and so I have offered my resignation to Neal Benezra and the Board of Trustees.”\u003c/p>\n\u003cp>Garrels is the fifth SFMOMA staff member to step down in recent weeks as the museum faces accusations of racial inequity from both internal and external critics after the \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">deletion of a critical comment\u003c/a> written by former museum employee Taylor Brandon on a May 30 Instagram post. His departure follows that of \u003ca href=\"https://www.kqed.org/arts/13882814/high-ranking-sfmoma-employee-to-leave-during-ongoing-reckoning\" rel=\"noopener noreferrer\" target=\"_blank\">Nan Keeton\u003c/a>, the deputy museum director in charge of external relations; Marisa Robisch, director of human resources; Cindi Hubbard, recruitment and staffing manager; and Ann von Germeten, chief marketing and communications officer. \u003c/p>\n\u003cp>In addition to the June 27 quote attributed to Garrels, the Instagram account @changethemuseum, which shares anonymous stories of racism within U.S. museums, has featured \u003ca href=\"https://www.instagram.com/p/CCEYUSjlWCL/\" rel=\"noopener noreferrer\" target=\"_blank\">nearly\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCFRh2CFhVD/\" rel=\"noopener noreferrer\" target=\"_blank\">a\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHUroslnBW/\" rel=\"noopener noreferrer\" target=\"_blank\">dozen\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHrsG7FvrA/\" rel=\"noopener noreferrer\" target=\"_blank\">stories\u003c/a> of employee experiences at SFMOMA. Brandon, in conjunction with the Nure Collective, the No Neutral Alliance and xSFM0MA have called for, among other demands, the resignation of museum director Neal Benezra.\u003c/p>\n\u003cp>Since shutting down due to the coronavirus pandemic in mid-March, SFMOMA has laid off or reduced the hours of 186 employees. According to \u003ca href=\"https://www.sfmoma.org/press-release/statement-on-the-resignation-of-gary-garrels/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> issued by Benezra on July 11, Sarah Roberts, curator and head of painting and sculpture, will assume responsibility for the department in an interim capacity.\u003c/p>\n\u003cp>\u003ci>This story has been updated to include the total number of works accessioned through the sale of a Mark Rothko painting and the actual number of employees laid off or furloughed in recent months.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated July 15, 11am\u003c/i>\u003c/p>\n\u003cp>Gary Garrels, the San Francisco Museum of Modern Art’s senior curator of painting and sculpture, announced his resignation on Saturday following an uproar over comments made at an all-staff Zoom meeting last week. His final day at the museum will be July 31.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Garrels was confronted in the July 7 staff meeting, Artnet \u003ca href=\"https://news.artnet.com/art-world/gary-garrels-departure-sfmoma-1893964\" rel=\"noopener noreferrer\" target=\"_blank\">first reported\u003c/a>, about statements he had previously made concerning the museum’s collection priorities. At a time when museums are being called upon to diversify their holdings beyond the work of Western, white male artists, an \u003ca href=\"https://www.instagram.com/p/CB9QPOYlt5U/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram post\u003c/a> on the account @changethemuseum claimed that a white senior curator (widely understood to be Garrels) had ended a presentation about recent acquisitions of work by artists of color saying, “Don’t worry, we will definitely still continue to collect white artists.”\u003c/p>\n\u003cp>Garrels shared a similar sentiment while speaking publicly during a February 2020 panel at the FOG Design+Art Fair titled “Ways of Being Seen: Creating Visibility for Women in Art.”\u003c/p>\n\u003cp>“You’ve got this huge mountain you’re scaling to get to parity, to get to balance. It’s going to take a lot of time,” he said. “The other thing I have to say, and I’ve reassured artists, we will continue to collect white men. There are a lot of great women artists, but there are also still a lot of good men out there working as well.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" src=\"https://www.youtube.com/embed/BQnoV_iAAfo?start=1340\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>When panel moderator Sarah Douglas, editor in chief of ARTnews, suggested one approach would be to stop collecting work by white male artists for a period of time (as the Baltimore Museum of Art \u003ca href=\"https://www.baltimoresun.com/entertainment/arts/bs-fe-bma-female-artists-2020-20191115-33s5hjjnqfghzhmwkt7dqbargq-story.html\" rel=\"noopener noreferrer\" target=\"_blank\">announced it would do\u003c/a> in 2020), Garrels said, “I just don’t agree with that. That’s an alternative, different kind of profiling.”\u003c/p>\n\u003cp>In last week’s staff meeting, Garrels said avoiding the work of white men would amount to “reverse discrimination,” a phrase he later described as “an extremely poor choice of words.” A group of former museum employees organized under the name \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">xSFM0MA\u003c/a> quickly created \u003ca href=\"https://www.change.org/p/xsfm0ma-we-are-calling-for-the-resignation-of-sfmoma-senior-curator-gary-garrels\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> calling for Garrels’ resignation, writing, “Gary’s removal from SFMOMA is non-negotiable. Considering his lengthy tenure at this institution, we ask just how long have his toxic white supremacist beliefs regarding race and equity directed his position curating the content of the museum?”\u003c/p>\n\u003cp>Garrels first worked at SFMOMA from 1993 to 2000 and returned to the museum in 2008 after curatorial positions at the Museum of Modern Art in New York and the Hammer Museum in Los Angeles. As ARTnews has \u003ca href=\"https://www.artnews.com/art-news/news/sfmoma-protest-letter-1202692108/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a>, Garrels received a no-interest home loan for $500,000 from SFMOMA, approved by the museum’s board. (Museum director Neal Benezra received a $800,000 no-interest home loan.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently, Garrels organized SFMOMA’s 2019 \u003ca href=\"https://www.kqed.org/arts/13848287/in-vija-celmins-work-looking-is-a-multisensory-experience\" rel=\"noopener noreferrer\" target=\"_blank\">Vija Celmins retrospective\u003c/a> and led, with chief curator Janet Bishop, the deaccession and sale of a Mark Rothko painting from the museum’s collection. Funds from the $50.1 million sale (an endowment named the Peggy Guggenheim Fund after the Rothko’s original donor), have now been used to accession 110 artworks across curatorial departments. The initial purchases of 11 works \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-11-new-acquisitions-by-10-modern-and-contemporary-artists-to-strategically-diversify-the-collection/\" rel=\"noopener noreferrer\" target=\"_blank\">were announced\u003c/a> as part of a concerted effort to diversify the museum’s holdings with works by female artists, artists of color and self-identifying LGBTQ+ artists.\u003c/p>\n\u003cp>“I deeply and personally apologize to all of you for any hurt I may have caused,” Garrels wrote in an all-staff email announcing his resignation. “I am so proud of this museum and I am proud of the work I have been able to do with so many of you. But I realize that in the current climate, I can no longer effectively work at SFMOMA, and so I have offered my resignation to Neal Benezra and the Board of Trustees.”\u003c/p>\n\u003cp>Garrels is the fifth SFMOMA staff member to step down in recent weeks as the museum faces accusations of racial inequity from both internal and external critics after the \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">deletion of a critical comment\u003c/a> written by former museum employee Taylor Brandon on a May 30 Instagram post. His departure follows that of \u003ca href=\"https://www.kqed.org/arts/13882814/high-ranking-sfmoma-employee-to-leave-during-ongoing-reckoning\" rel=\"noopener noreferrer\" target=\"_blank\">Nan Keeton\u003c/a>, the deputy museum director in charge of external relations; Marisa Robisch, director of human resources; Cindi Hubbard, recruitment and staffing manager; and Ann von Germeten, chief marketing and communications officer. \u003c/p>\n\u003cp>In addition to the June 27 quote attributed to Garrels, the Instagram account @changethemuseum, which shares anonymous stories of racism within U.S. museums, has featured \u003ca href=\"https://www.instagram.com/p/CCEYUSjlWCL/\" rel=\"noopener noreferrer\" target=\"_blank\">nearly\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCFRh2CFhVD/\" rel=\"noopener noreferrer\" target=\"_blank\">a\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHUroslnBW/\" rel=\"noopener noreferrer\" target=\"_blank\">dozen\u003c/a> \u003ca href=\"https://www.instagram.com/p/CCHrsG7FvrA/\" rel=\"noopener noreferrer\" target=\"_blank\">stories\u003c/a> of employee experiences at SFMOMA. Brandon, in conjunction with the Nure Collective, the No Neutral Alliance and xSFM0MA have called for, among other demands, the resignation of museum director Neal Benezra.\u003c/p>\n\u003cp>Since shutting down due to the coronavirus pandemic in mid-March, SFMOMA has laid off or reduced the hours of 186 employees. According to \u003ca href=\"https://www.sfmoma.org/press-release/statement-on-the-resignation-of-gary-garrels/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> issued by Benezra on July 11, Sarah Roberts, curator and head of painting and sculpture, will assume responsibility for the department in an interim capacity.\u003c/p>\n\u003cp>\u003ci>This story has been updated to include the total number of works accessioned through the sale of a Mark Rothko painting and the actual number of employees laid off or furloughed in recent months.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SFFILM, in partnership with the Kenneth Rainin Foundation, is a major funder of narrative, independent films, and its biannual grant has a proven track record of helping talented, emerging filmmakers make their breakthroughs. Boots Riley’s sci-fi social satire \u003cem>Sorry to Bother You\u003c/em>, Joe Talbot’s sentimental \u003cem>The Last Black Man in San Francisco\u003c/em> and Ryan Coogler’s tragic \u003cem>Fruitvale Station\u003c/em> all received major boosts from SFFILM and Rainin. \u003c/p>\n\u003cp>The latest list of SFFILM grant recipients also functions as a list of filmmakers to watch. Read more about the selected films from SFFILM below. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Catch the Fair One\u003c/em>\u003c/strong>\u003cbr>\nJosef Kubota Wladyka, writer/director; Kimberly Parker and Mollye Asher, producers – $45,000 for post-production\u003cbr>\n“In \u003cem>Catch the Fair One\u003c/em>, a boxer plans her own abduction in order to find her missing sister.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Estrada para Livramento (Road to Livramento)\u003c/em>\u003c/strong>\u003cbr>\nGiuliana Monteiro, writer/director/producer; Beatriz Monteiro, co-writer – $25,000 for screenwriting\u003cbr>\n“Two estranged brothers are forced together when their family home is destroyed by corporate greed. The stringent rules for financial compensation require them to embark on a long journey through the south of Brazil in search of their younger brother.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>If We Left\u003c/em>\u003c/strong>\u003cbr>\nMoon Molson, writer/director; Andrew Burrows-Trotman, writer; Miles Maker, producer – $25,000 for screenwriting\u003cbr>\n“A cook and a janitor stayed without pay to care for abandoned senior residents when their assisted living home was shut down in Castro Valley, CA. Their selfless act of friendship and heroism became the feel-good story of 2013 and led to the Residential Care for the Elderly Reform Act.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Karaoke King\u003c/em>\u003c/strong>\u003cbr>\nFederica Gianni, writer/director; Lara Costa-Calzado and Tatiana Bears, producers – $25,000 for screenwriting\u003cbr>\n“In the aftermath of an earthquake that destroys their village, a gay teenager and his ultraconservative brother are sent to live in the margins of Rome. Alone and in a big city, the brothers are forced to confront the different men they are becoming as they search to find love and work, and breathe new life in the crumbling infrastructures around them.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Madame Négritude\u003c/em>\u003c/strong>\u003cbr>\nMadeleine Hunt-Ehrlich, writer/director; Christine Sanders, producer – $25,000 for screenwriting\u003cbr>\n“\u003cem>Madame Négritude\u003c/em> is a technicolor adventure through the brilliant and mercurial mind of Martiniquan writer and political heroine Suzanne Césaire.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On the Mat\u003c/em>\u003c/strong>\u003cbr>\nDaniel Antebi, writer/director; Alexandra Byer, Madeleine Askwith, and Michael Gottwald, producers – $25,000 for development\u003cbr>\n“Ilan, 16 and queer, must untangle himself from a secret relationship with his martial arts coach.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rolling Stone\u003c/em>\u003c/strong>\u003cbr>\nChristopher Cole, writer/director – $25,000 for screenwriting\u003cbr>\n“Doug is a disaffected music journalist who has ambitions of being an influential writer. Butcher is an egocentric superstar rapper. They look exactly alike. After Doug interviews Butcher, he haphazardly agrees to play his double in a music video. When one gig as Butcher turns into too many, Doug struggles to find his own voice while reckoning his relationship with the public, substances, and a budding romance with his new editor Ana.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFFILM, in partnership with the Kenneth Rainin Foundation, is a major funder of narrative, independent films, and its biannual grant has a proven track record of helping talented, emerging filmmakers make their breakthroughs. Boots Riley’s sci-fi social satire \u003cem>Sorry to Bother You\u003c/em>, Joe Talbot’s sentimental \u003cem>The Last Black Man in San Francisco\u003c/em> and Ryan Coogler’s tragic \u003cem>Fruitvale Station\u003c/em> all received major boosts from SFFILM and Rainin. \u003c/p>\n\u003cp>The latest list of SFFILM grant recipients also functions as a list of filmmakers to watch. Read more about the selected films from SFFILM below. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Catch the Fair One\u003c/em>\u003c/strong>\u003cbr>\nJosef Kubota Wladyka, writer/director; Kimberly Parker and Mollye Asher, producers – $45,000 for post-production\u003cbr>\n“In \u003cem>Catch the Fair One\u003c/em>, a boxer plans her own abduction in order to find her missing sister.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Estrada para Livramento (Road to Livramento)\u003c/em>\u003c/strong>\u003cbr>\nGiuliana Monteiro, writer/director/producer; Beatriz Monteiro, co-writer – $25,000 for screenwriting\u003cbr>\n“Two estranged brothers are forced together when their family home is destroyed by corporate greed. The stringent rules for financial compensation require them to embark on a long journey through the south of Brazil in search of their younger brother.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>If We Left\u003c/em>\u003c/strong>\u003cbr>\nMoon Molson, writer/director; Andrew Burrows-Trotman, writer; Miles Maker, producer – $25,000 for screenwriting\u003cbr>\n“A cook and a janitor stayed without pay to care for abandoned senior residents when their assisted living home was shut down in Castro Valley, CA. Their selfless act of friendship and heroism became the feel-good story of 2013 and led to the Residential Care for the Elderly Reform Act.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a viral video showed a man and a woman attempting to deface a Black Lives Matter mural in front of a Martinez courthouse, the Contra Costa County district attorney announced today that the pair is being charged with three misdemeanors, including a hate crime.\u003c/p>\n\u003cp>The incident unfolded on July 4, hours after another resident completed the mural, which features the words “Black Lives Matter” in large, yellow letters on the asphalt. The original mural was permitted by the city, whose demographic makeup is 75% white and 3.6% Black, according to the latest census estimates. Hours after it was completed, Martinez residents Nichole Anderson, 42, and David Nelson, 53, allegedly arrived with buckets of paint and rollers; Anderson attempted to cover the letters with black paint while Nelson yelled at onlookers, shouting “Keep America great again” and “All lives matter.” [aside postid='news_11827832']\u003c/p>\n\u003cp>In the video, Nelson wears a red “Make America Great Again” hat and a shirt that reads “Four more years.”\u003c/p>\n\u003cp>“We’re sick of this narrative. That’s what’s wrong,” Nelson told passersby. “The narrative of police brutality. The narrative of oppression. The narrative of racism. It’s a lie. There is no oppression. There is no racism. It’s a leftist lie. It’s a lie from the media, the liberal left.”\u003c/p>\n\u003cp>Nelson and Anderson have been charged with violation of civil rights, vandalism under $400 and possession of tools to commit vandalism or graffiti. If convicted, they could face a year in county jail.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We must address the root and byproduct of systemic racism in our country. The Black Lives Matter movement is an important civil rights cause that deserves all of our attention,” Contra Costa County District Attorney Diana Becton said in a statement. “The mural completed last weekend was a peaceful and powerful way to communicate the importance of Black lives in Contra Costa County and the country. We must continue to elevate discussions and actually listen to one another in an effort to heal our community and country.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/LLuESd7zidA\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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