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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
"headTitle": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations | KQED",
"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tenderloin Murals Meet their Audience at Street Level",
"headTitle": "Tenderloin Murals Meet their Audience at Street Level | KQED",
"content": "\u003cp>Chad Hasegawa’s new mural, finished Aug. 1, is painted above Blessings Ministry, a medical marijuana dispensary with a star of David over the door. It’s right down the block from the historic Hibernia Bank Building. Across the street on McAllister, a man wearing shades and a sports coat has a lawn chair laid out. He’s playing Rhianna from a vintage speaker—loud, and he’s singing. The streets are full of people. \u003c/p>\n\u003cp>“People were sitting out every day watching me paint,” Hasegawa remembers, “I had fans. Well, there was nothing else they could do during the pandemic.” \u003c/p>\n\u003cp>[aside postID=\"artschool_826\"]Hasegawa’s mural, spread across two walls, pairs a patchworked brown bear on one section with two minimal spheres on the other. The bear, which he reasons is a symbol of California, was chosen rather arbitrarily. “Basically,” Hasegawa explains, “I started out painting all these animals, but then people wanted me to paint their pug or like a tiger and I didn’t want to be a pet portraitist so I decided to only do the bear.” \u003c/p>\n\u003cp>Thinking about the spectrum of browns that coalesce in the bear’s appearance, Hasegawa drew out two predominant hues that articulate different shades, red and blue. The colors illuminate extremes and the effect is radiant. “I wanted the colors to turn each other on,” Hasegawa says of \u003ca href=\"https://www.instagram.com/chadhasegawa/\" rel=\"noopener noreferrer\" target=\"_blank\">his work\u003c/a>. “As if there are energies in them.”\u003c/p>\n\u003cp>The panel opposite the bear features two interlocking spheres which the artist made painstakingly, with a meticulous tape stencil. It’s minimal and perfect, more like a printed image than a painting. But, Hasegawa assures, if you look closely you can see the brushstrokes.\u003c/p>\n\u003cfigure id=\"attachment_13885217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13885217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chad Hasegawa’s recently completed ‘Kachusha the American,’ 2020. \u003ccite>(Darryl Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[pullquote size='medium' align='right' citation='Darryl Smith, The Luggage Store']I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there.[/pullquote]The mural, on 83 McAllister, is the latest in a series of large-scale public works commissioned in the Tenderloin and Mid-Market neighborhoods by The Luggage Store gallery and funded primarily by Someland Foundation. So far three other murals have been completed, the first was \u003ca href=\"https://anglimgilbertgallery.com/clare-rojas/#ms-7880\" rel=\"noopener noreferrer\" target=\"_blank\">Clare Rojas\u003c/a>’ \u003cem>PROMISE\u003c/em> on the Warfield; then in 2018, \u003ca href=\"http://www.jackhanley.com/artists/alicia-mccarthy\" rel=\"noopener noreferrer\" target=\"_blank\">Alicia McCarthy\u003c/a>’s \u003cem>Untitled\u003c/em> went up at 7th and Market; and in 2019 \u003ca href=\"https://www.taubaauerbach.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tauba Auerbach\u003c/a> painted the colossal \u003cem>2020\u003c/em> on 455 Eddy. A new mural is planned for October by the artist \u003ca href=\"https://monacaron.com/street/mona-caron-artist\" rel=\"noopener noreferrer\" target=\"_blank\">Mona Caron\u003c/a>.\u003c/p>\n\u003cp>“These projects,” explains Luggage Store co-founder Darryl Smith, “are about giving people access to art at the highest level. I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there—it seems to me a more interesting way to reach many cultures and people.”\u003c/p>\n\u003cp>Hasegawa has painted murals in San Francisco, his home of over 20 years, for almost as long as he’s lived in the city. Before he works on a mural he always spends time scoping out the area. “The first bear I did was right down the street from The Stud. I thought since there was a big bear scene in the gay community there, they’d like it. And they did.” \u003c/p>\n\u003cp>With museums and galleries shuttered during the pandemic, it is, at the risk of sounding corny, a beautiful thing to see art in the company of others. Especially in a community as strong and interlinked as the Tenderloin, where everyone seems to know each other’s name. This proliferation of public murals is an antidote to the staleness of art museums, providing a lively context, formed by an engaged scene on the streets, that knocks high art out of its rarified, and often apolitical, frame. \u003c/p>\n\u003cfigure id=\"attachment_13885213\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DarrylSmith_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Luggage Store co-founder Darryl Smith with Alicia McCarthy’s mural in the background. \u003ccite>(Barrett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People really like them,” says Smith, who is constantly greeting people on Eddy. “Just being on the street, walking through the neighborhood, I encounter people who thank me for the murals. Some even talk to me about other walls that could use one.” \u003c/p>\n\u003cp>A longtime resident of the Tenderloin, Hasegawa wanted to honor McAllister’s strategic location as a protest route. “That’s why I had the bear throw its hand up, as a sign of hope,” he says. “Like keep going people, we still have to scream at City Hall, it’s not over yet.” \u003c/p>\n\u003cp>He painted the Pan-African flag in his mural as a sign of respect to the Black Lives Matter movement; he figured it was something the Black community that spends time on the block would appreciate, “even if they weren’t about the art.” The mural itself is titled \u003cem>Kachusha the American\u003c/em>, in honor of a friend of Hasegawa’s who was attacked by the police in the Mission after acting as a witness to their harassment of a family. According to Hasegawa, while defending himself from the violent officers, Kachusha screamed, “I can’t breathe. I’m an American.” \u003c/p>\n\u003cp>“He kept saying that,” says Hasegawa, “because he felt like he was caught in a war.”\u003c/p>\n\u003cfigure id=\"attachment_13885215\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg\" alt=\"\" width=\"768\" height=\"1050\" class=\"size-full wp-image-13885215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1-160x219.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach’s ‘2020,’ 2019 on Mosser Towers. \u003ccite>(Jay Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Color and Form on an Epic Scale\u003c/h2>\n\u003cp>A girl with “Elon Musk” written on her arm in thick black marker is marveling at 2020, Auerbach’s hypnotic black and white mural. She has a pile of high heels in front of her and is modeling a particularly nice pair of red pumps. Gliding back and forth impressively, lightly encouraging people to buy them off her feet, she engages someone about the mural. She says she thinks it’s beautiful, then, softly, and only to herself, she whispers, “Best art ever.”\u003c/p>\n\u003cp>Auerbach’s mural depicts what looks like a rectangular piece of glass being dipped into inky milk. Adroit painted shadows falling from the glass give the mural a disconcerting trompe l’oeil effect and from a distance it’s as if the building is caught in a perpetual collision. \u003c/p>\n\u003cp>The largest work Auerbach has ever done, the mural was made with the assistance of a two-person crew from \u003ca href=\"https://www.newbohemiasigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Bohemia Signs\u003c/a>, where Auerbach worked early in her career. The geometric precision and dedication to work by hand for which Auerbach is known wrap around the building with staggering care. \u003c/p>\n\u003cp>A few blocks away sits Alicia McCarthy’s 100-by-100-foot untitled mural. Made with foot-long rollers acting as stand-ins for brushes, it’s a net of interlocking stripes painted line by line. Each color in the painting is unique, mixed by the artist. Following a line horizontally or vertically lends the mural a visual undulation; each color is constantly re-contextualized by its intersections. McCarthy, who worked with a crew of artists to put up the mural, notes the pure pleasure of watching colors interact with one another.\u003c/p>\n\u003cp>“I’m not trying to illustrate anything,” says Oakland-born McCarthy. “It is just color and lines and you see exactly what goes into it. There is no manipulation. My work is just about adaptation and context.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Street Art and the Battle for the City’s Soul\u003c/h2>\n\u003cp>The Tenderloin and Mid-Market murals are funded by Sara Williams and her foundation \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/453438376\" rel=\"noopener noreferrer\" target=\"_blank\">Someland\u003c/a>, which she started with her husband Evan Williams, a co-founder of Twitter. While political justice and education seem to be the primary recipients of Someland’s donations, they’ve supported the arts in San Francisco by contributing to 826 Valencia and the FOR-SITE foundations’s \u003cem>\u003ca href=\"https://www.for-site.org/project/home-land-security/\" rel=\"noopener noreferrer\" target=\"_blank\">Home Land Security\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>As the area has long been a site of discontent, where new money meets a resilient community, there is an inherent tension between tech companies and the shrinking viability of small DIY and nonprofit organizations. On top of that, street art has recently become a kind of code for “gentrifying neighborhood” in the vernacular of start-ups like Airbnb or Tripadvisor. \u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Alicia McCarthy']It means a lot to work on this with Darryl and Laurie. Luggage Store is family.[/pullquote]Someland’s decision to directly support a steward of the community like Luggage Store—and in turn, the people they serve—marks an unusual and somewhat optimistic moment. By working with artists who have deep roots in San Francisco, and are politically attuned to the responsibilities of making public work, Smith is helping restore the Mission School’s long history of painting artwork on city walls, for free and for everyone.\u003c/p>\n\u003cp>“We look at Mid-Market and the Tenderloin where there is a strong African American community and we are proud that a number of murals have been done by Black people, people of color and women,” Smith says. \u003c/p>\n\u003cp>The artists he’s curated have taken care to be politically conscious, weighing a number of factors before committing to a mural—and its location. The luxury hotel Proper that hosts Alicia McCarthy’s mural used to be an SRO. “That was a difficult decision for me,” McCarthy says of taking the commission. “I did it on the condition that half my artist fee be donated to a nonprofit.” Ultimately, she reasoned she could trust the The Luggage Store, where she has shown and viewed art for decades.\u003c/p>\n\u003cp>“I’m not in the field for any professional reasons, but it means a lot to work on this with Darryl and Laurie,” McCarthy says of the co-founders. “Luggage Store is family. They are one of my core influences, I don’t think anyone could do what they do the way they do.” \u003c/p>\n\u003cfigure id=\"attachment_13885216\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg\" alt=\"\" width=\"1024\" height=\"1007\" class=\"size-full wp-image-13885216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-1020x1003.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-768x755.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alicia McCarthy’s ‘Untitled,’ 2018 on the Proper Hotel. \u003ccite>(Jay Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art and Access\u003c/h2>\n\u003cp>The term “art market” has always struck me as strange. It’s as if art is a naturally occurring resource like oil or corn. As if it can be mined, processed and commodified, and isn’t the result of deeply personal and political expression. \u003c/p>\n\u003cp>The Luggage Store is committed, in its own way, to protecting the Tenderloin from gentrification and the looming recession while bringing art to its neighbors. In this mural project, public art is not a stepping stone towards gentrification, but a way of improving the daily lives of the people who are already there.\u003c/p>\n\u003cp>The pandemic has irrefutably highlighted the link between wealth and access to art, as works become further entombed within galleries open only by appointment and museums, still closed. But in the streets of the Tenderloin, there is a vitality to these freely accessible murals—curated with extreme care and hand-painted by artists who love San Francisco—that no economic crisis or pandemic could extinguish. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chad Hasegawa’s new mural, finished Aug. 1, is painted above Blessings Ministry, a medical marijuana dispensary with a star of David over the door. It’s right down the block from the historic Hibernia Bank Building. Across the street on McAllister, a man wearing shades and a sports coat has a lawn chair laid out. He’s playing Rhianna from a vintage speaker—loud, and he’s singing. The streets are full of people. \u003c/p>\n\u003cp>“People were sitting out every day watching me paint,” Hasegawa remembers, “I had fans. Well, there was nothing else they could do during the pandemic.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hasegawa’s mural, spread across two walls, pairs a patchworked brown bear on one section with two minimal spheres on the other. The bear, which he reasons is a symbol of California, was chosen rather arbitrarily. “Basically,” Hasegawa explains, “I started out painting all these animals, but then people wanted me to paint their pug or like a tiger and I didn’t want to be a pet portraitist so I decided to only do the bear.” \u003c/p>\n\u003cp>Thinking about the spectrum of browns that coalesce in the bear’s appearance, Hasegawa drew out two predominant hues that articulate different shades, red and blue. The colors illuminate extremes and the effect is radiant. “I wanted the colors to turn each other on,” Hasegawa says of \u003ca href=\"https://www.instagram.com/chadhasegawa/\" rel=\"noopener noreferrer\" target=\"_blank\">his work\u003c/a>. “As if there are energies in them.”\u003c/p>\n\u003cp>The panel opposite the bear features two interlocking spheres which the artist made painstakingly, with a meticulous tape stencil. It’s minimal and perfect, more like a printed image than a painting. But, Hasegawa assures, if you look closely you can see the brushstrokes.\u003c/p>\n\u003cfigure id=\"attachment_13885217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13885217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chad Hasegawa’s recently completed ‘Kachusha the American,’ 2020. \u003ccite>(Darryl Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The mural, on 83 McAllister, is the latest in a series of large-scale public works commissioned in the Tenderloin and Mid-Market neighborhoods by The Luggage Store gallery and funded primarily by Someland Foundation. So far three other murals have been completed, the first was \u003ca href=\"https://anglimgilbertgallery.com/clare-rojas/#ms-7880\" rel=\"noopener noreferrer\" target=\"_blank\">Clare Rojas\u003c/a>’ \u003cem>PROMISE\u003c/em> on the Warfield; then in 2018, \u003ca href=\"http://www.jackhanley.com/artists/alicia-mccarthy\" rel=\"noopener noreferrer\" target=\"_blank\">Alicia McCarthy\u003c/a>’s \u003cem>Untitled\u003c/em> went up at 7th and Market; and in 2019 \u003ca href=\"https://www.taubaauerbach.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tauba Auerbach\u003c/a> painted the colossal \u003cem>2020\u003c/em> on 455 Eddy. A new mural is planned for October by the artist \u003ca href=\"https://monacaron.com/street/mona-caron-artist\" rel=\"noopener noreferrer\" target=\"_blank\">Mona Caron\u003c/a>.\u003c/p>\n\u003cp>“These projects,” explains Luggage Store co-founder Darryl Smith, “are about giving people access to art at the highest level. I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there—it seems to me a more interesting way to reach many cultures and people.”\u003c/p>\n\u003cp>Hasegawa has painted murals in San Francisco, his home of over 20 years, for almost as long as he’s lived in the city. Before he works on a mural he always spends time scoping out the area. “The first bear I did was right down the street from The Stud. I thought since there was a big bear scene in the gay community there, they’d like it. And they did.” \u003c/p>\n\u003cp>With museums and galleries shuttered during the pandemic, it is, at the risk of sounding corny, a beautiful thing to see art in the company of others. Especially in a community as strong and interlinked as the Tenderloin, where everyone seems to know each other’s name. This proliferation of public murals is an antidote to the staleness of art museums, providing a lively context, formed by an engaged scene on the streets, that knocks high art out of its rarified, and often apolitical, frame. \u003c/p>\n\u003cfigure id=\"attachment_13885213\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DarrylSmith_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Luggage Store co-founder Darryl Smith with Alicia McCarthy’s mural in the background. \u003ccite>(Barrett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People really like them,” says Smith, who is constantly greeting people on Eddy. “Just being on the street, walking through the neighborhood, I encounter people who thank me for the murals. Some even talk to me about other walls that could use one.” \u003c/p>\n\u003cp>A longtime resident of the Tenderloin, Hasegawa wanted to honor McAllister’s strategic location as a protest route. “That’s why I had the bear throw its hand up, as a sign of hope,” he says. “Like keep going people, we still have to scream at City Hall, it’s not over yet.” \u003c/p>\n\u003cp>He painted the Pan-African flag in his mural as a sign of respect to the Black Lives Matter movement; he figured it was something the Black community that spends time on the block would appreciate, “even if they weren’t about the art.” The mural itself is titled \u003cem>Kachusha the American\u003c/em>, in honor of a friend of Hasegawa’s who was attacked by the police in the Mission after acting as a witness to their harassment of a family. According to Hasegawa, while defending himself from the violent officers, Kachusha screamed, “I can’t breathe. I’m an American.” \u003c/p>\n\u003cp>“He kept saying that,” says Hasegawa, “because he felt like he was caught in a war.”\u003c/p>\n\u003cfigure id=\"attachment_13885215\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg\" alt=\"\" width=\"768\" height=\"1050\" class=\"size-full wp-image-13885215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1-160x219.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach’s ‘2020,’ 2019 on Mosser Towers. \u003ccite>(Jay Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Color and Form on an Epic Scale\u003c/h2>\n\u003cp>A girl with “Elon Musk” written on her arm in thick black marker is marveling at 2020, Auerbach’s hypnotic black and white mural. She has a pile of high heels in front of her and is modeling a particularly nice pair of red pumps. Gliding back and forth impressively, lightly encouraging people to buy them off her feet, she engages someone about the mural. She says she thinks it’s beautiful, then, softly, and only to herself, she whispers, “Best art ever.”\u003c/p>\n\u003cp>Auerbach’s mural depicts what looks like a rectangular piece of glass being dipped into inky milk. Adroit painted shadows falling from the glass give the mural a disconcerting trompe l’oeil effect and from a distance it’s as if the building is caught in a perpetual collision. \u003c/p>\n\u003cp>The largest work Auerbach has ever done, the mural was made with the assistance of a two-person crew from \u003ca href=\"https://www.newbohemiasigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Bohemia Signs\u003c/a>, where Auerbach worked early in her career. The geometric precision and dedication to work by hand for which Auerbach is known wrap around the building with staggering care. \u003c/p>\n\u003cp>A few blocks away sits Alicia McCarthy’s 100-by-100-foot untitled mural. Made with foot-long rollers acting as stand-ins for brushes, it’s a net of interlocking stripes painted line by line. Each color in the painting is unique, mixed by the artist. Following a line horizontally or vertically lends the mural a visual undulation; each color is constantly re-contextualized by its intersections. McCarthy, who worked with a crew of artists to put up the mural, notes the pure pleasure of watching colors interact with one another.\u003c/p>\n\u003cp>“I’m not trying to illustrate anything,” says Oakland-born McCarthy. “It is just color and lines and you see exactly what goes into it. There is no manipulation. My work is just about adaptation and context.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Street Art and the Battle for the City’s Soul\u003c/h2>\n\u003cp>The Tenderloin and Mid-Market murals are funded by Sara Williams and her foundation \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/453438376\" rel=\"noopener noreferrer\" target=\"_blank\">Someland\u003c/a>, which she started with her husband Evan Williams, a co-founder of Twitter. While political justice and education seem to be the primary recipients of Someland’s donations, they’ve supported the arts in San Francisco by contributing to 826 Valencia and the FOR-SITE foundations’s \u003cem>\u003ca href=\"https://www.for-site.org/project/home-land-security/\" rel=\"noopener noreferrer\" target=\"_blank\">Home Land Security\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>As the area has long been a site of discontent, where new money meets a resilient community, there is an inherent tension between tech companies and the shrinking viability of small DIY and nonprofit organizations. On top of that, street art has recently become a kind of code for “gentrifying neighborhood” in the vernacular of start-ups like Airbnb or Tripadvisor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "It means a lot to work on this with Darryl and Laurie. Luggage Store is family.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Someland’s decision to directly support a steward of the community like Luggage Store—and in turn, the people they serve—marks an unusual and somewhat optimistic moment. By working with artists who have deep roots in San Francisco, and are politically attuned to the responsibilities of making public work, Smith is helping restore the Mission School’s long history of painting artwork on city walls, for free and for everyone.\u003c/p>\n\u003cp>“We look at Mid-Market and the Tenderloin where there is a strong African American community and we are proud that a number of murals have been done by Black people, people of color and women,” Smith says. \u003c/p>\n\u003cp>The artists he’s curated have taken care to be politically conscious, weighing a number of factors before committing to a mural—and its location. The luxury hotel Proper that hosts Alicia McCarthy’s mural used to be an SRO. “That was a difficult decision for me,” McCarthy says of taking the commission. “I did it on the condition that half my artist fee be donated to a nonprofit.” Ultimately, she reasoned she could trust the The Luggage Store, where she has shown and viewed art for decades.\u003c/p>\n\u003cp>“I’m not in the field for any professional reasons, but it means a lot to work on this with Darryl and Laurie,” McCarthy says of the co-founders. “Luggage Store is family. They are one of my core influences, I don’t think anyone could do what they do the way they do.” \u003c/p>\n\u003cfigure id=\"attachment_13885216\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg\" alt=\"\" width=\"1024\" height=\"1007\" class=\"size-full wp-image-13885216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-1020x1003.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-768x755.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alicia McCarthy’s ‘Untitled,’ 2018 on the Proper Hotel. \u003ccite>(Jay Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art and Access\u003c/h2>\n\u003cp>The term “art market” has always struck me as strange. It’s as if art is a naturally occurring resource like oil or corn. As if it can be mined, processed and commodified, and isn’t the result of deeply personal and political expression. \u003c/p>\n\u003cp>The Luggage Store is committed, in its own way, to protecting the Tenderloin from gentrification and the looming recession while bringing art to its neighbors. In this mural project, public art is not a stepping stone towards gentrification, but a way of improving the daily lives of the people who are already there.\u003c/p>\n\u003cp>The pandemic has irrefutably highlighted the link between wealth and access to art, as works become further entombed within galleries open only by appointment and museums, still closed. But in the streets of the Tenderloin, there is a vitality to these freely accessible murals—curated with extreme care and hand-painted by artists who love San Francisco—that no economic crisis or pandemic could extinguish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Some Good News: Ruth Asawa Stamps are Here",
"headTitle": "Some Good News: Ruth Asawa Stamps are Here | KQED",
"content": "\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Arthur’ Reminds Us the Internet Can’t Replace Art Shows",
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"content": "\u003cp>Objectively, I know that looking at art on a screen is no replacement for the physical experience. But over the past five months, I convinced myself I was getting at least an approximation of the thing. With my powers of looking—so well-trained, so good at reading material lists!—I was doing an okay job, I told myself, at imagining a physical artwork in three-dimensional brain space based on nothing more than its flattened digital image.\u003c/p>\n\u003cp>Then I went to Ratio 3 to see Eddie Martinez and Sam Moyer’s \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/sam-moyer-eddie-martinez-arthur/installation\" target=\"_blank\" rel=\"noopener noreferrer\">Arthur\u003c/a>\u003c/i>, and I was humbled.\u003c/p>\n\u003cp>You see—or you \u003ci>will\u003c/i> see, if you make an appointment to stop by the Mission Street gallery—Martinez and Moyer’s two-dimensional artworks are not exactly two-dimensional. They’re textured, luminous, rough-edged and layered. They blow their digital selves out of the water.\u003c/p>\n\u003cp>The biggest shock to my self-confidence came from the show’s opening piece, an untitled wall work by Moyer. In it, two flower-like arrangements of fractured gray marble sit against a golden field of painted canvas.\u003c/p>\n\u003cfigure id=\"attachment_13884358\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Untitled marble and canvas works by Sam Moyer, both 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Oh\u003c/i>, I thought. \u003ci>Marble!\u003c/i> Prior to my visit (and based on cursory web-browsing), I presumed I would see flat canvas, a uniform surface that held no surprises. Instead, Moyer’s canvas stretches over MDF that’s been cut to accommodate the irregular marble shapes. They nestle perfectly into their enclosures, the narrow gaps between gray stone and sunny canvas hinting at secret methods of affixing and unseen joinings of materials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Being wrong was thrilling. What else had I glossed over that I could now experience in person? In Martinez’ works on paper, it was thick chunks of oil paint. His marks of erasure—white paint over dark lines—work almost too well on jpegs. In person, you get to see what’s covered.\u003c/p>\n\u003cp>And the arrangements. Even installation images can’t capture the feeling of seeing Martinez’s \u003ci>Snakes Take\u003c/i>, a patchwork head of brightly colored squares, on a wall next to Moyer’s series of fused glass pieces. It’s as if Martinez’s painting has been broken up into its constituent parts. One glass work, a soft-edged, bubbly and molten-looking combination of red, black and blue, even features a checkerboard pattern, a pattern also seen in Martinez’s recurring head motif.\u003c/p>\n\u003cfigure id=\"attachment_13884363\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884363\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg\" alt=\"\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L) Sam Moyer, ‘Untitled,’ 2020; (R) Eddie Martinez, ‘Snakes Take,’ 2019. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the first time Martinez and Moyer, who are married and live in New York, have shared an exhibition. The show’s title comes from the name of their child, born in September last year—a collaboration of a different sort. A pairing of any artists forces viewers to draw connections between the two, but in this case, the artists also share a life.\u003c/p>\n\u003cp>And yet this particular pairing works well, beyond the novelty of a family show, because their work is so different. Where themes and similarities emerge—like between \u003ci>Snakes Take\u003c/i> and the glass works—it feels like a reward to close looking rather than evidence of one artist’s influence over the other.\u003c/p>\n\u003cfigure id=\"attachment_13884361\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Martinez, ‘Bird Whiteout,’ 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martinez’s works on paper and canvas are full of bold motion, thick brushstrokes and evidence of a laundry list of materials. One painting from 2020, \u003ci>Bird Whiteout\u003c/i>, is made from oil paint, silkscreen ink, oil bar, enamel, marker, foot print, pencil, push pins and canvas collage. His pieces push and pull at legibility through abstraction. A tennis ball is plainly visible in \u003ci>And Sports\u003c/i>, but in \u003ci>Bird Whiteout\u003c/i> only a cartoonish parrot is truly identifiable on the large canvas.\u003c/p>\n\u003cp>Moyer’s work, on the other hand, is much more restrained and orderly. But it’s not so restrained or orderly as to eliminate all possibility of chance. The glass works are a testament to this. Careful arrangements enter the kiln and emerge less precise, colors blending into one another and surfaces expanding with bulges.\u003c/p>\n\u003cp>In the marble and canvas pieces, Moyer balances the cool slices of stone with regular brushstrokes in muted tones of white, blue, green and gray. The pieces of marble are the off-cuts of other people’s projects (kitchen counters, bathroom floors); some bear measurements and labels on their edges. Moyer’s own marks answer those utilitarian bits of residue; she lines one canvas with washy horizontal stripes, another seems to mimic the veining of the stone it notches into.\u003c/p>\n\u003cfigure id=\"attachment_13884359\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Arthur’ with Sam Moyer’s untitled oil on bristol works, all 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last room of \u003ci>Arthur\u003c/i>, a long line of 12 framed works on paper hint at the push and pull of Moyer’s own process, one that uses cut-outs and patterning to carve up and map rectangular space. Nearby, an untitled painting by Martinez depicts three people at a table, one slightly smaller than the others. It could be two parents and a child.\u003c/p>\n\u003cp>Not as many people will get to see this show as likely would have before the pandemic. Perhaps more will see it online than in person. But those are different shows entirely. The distance between the two is vast, a whole dimension; I encourage as many as possible to traverse it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Arthur’ is on view Saturdays through Aug. 19 at Ratio 3 (2831A Mission Street) by appointment. \u003ca href=\"https://www.ratio3.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A two-person exhibition by Eddie Martinez and Sam Moyer reinforces the impact of seeing even 2D art in 3D space.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Objectively, I know that looking at art on a screen is no replacement for the physical experience. But over the past five months, I convinced myself I was getting at least an approximation of the thing. With my powers of looking—so well-trained, so good at reading material lists!—I was doing an okay job, I told myself, at imagining a physical artwork in three-dimensional brain space based on nothing more than its flattened digital image.\u003c/p>\n\u003cp>Then I went to Ratio 3 to see Eddie Martinez and Sam Moyer’s \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/sam-moyer-eddie-martinez-arthur/installation\" target=\"_blank\" rel=\"noopener noreferrer\">Arthur\u003c/a>\u003c/i>, and I was humbled.\u003c/p>\n\u003cp>You see—or you \u003ci>will\u003c/i> see, if you make an appointment to stop by the Mission Street gallery—Martinez and Moyer’s two-dimensional artworks are not exactly two-dimensional. They’re textured, luminous, rough-edged and layered. They blow their digital selves out of the water.\u003c/p>\n\u003cp>The biggest shock to my self-confidence came from the show’s opening piece, an untitled wall work by Moyer. In it, two flower-like arrangements of fractured gray marble sit against a golden field of painted canvas.\u003c/p>\n\u003cfigure id=\"attachment_13884358\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Untitled marble and canvas works by Sam Moyer, both 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Oh\u003c/i>, I thought. \u003ci>Marble!\u003c/i> Prior to my visit (and based on cursory web-browsing), I presumed I would see flat canvas, a uniform surface that held no surprises. Instead, Moyer’s canvas stretches over MDF that’s been cut to accommodate the irregular marble shapes. They nestle perfectly into their enclosures, the narrow gaps between gray stone and sunny canvas hinting at secret methods of affixing and unseen joinings of materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being wrong was thrilling. What else had I glossed over that I could now experience in person? In Martinez’ works on paper, it was thick chunks of oil paint. His marks of erasure—white paint over dark lines—work almost too well on jpegs. In person, you get to see what’s covered.\u003c/p>\n\u003cp>And the arrangements. Even installation images can’t capture the feeling of seeing Martinez’s \u003ci>Snakes Take\u003c/i>, a patchwork head of brightly colored squares, on a wall next to Moyer’s series of fused glass pieces. It’s as if Martinez’s painting has been broken up into its constituent parts. One glass work, a soft-edged, bubbly and molten-looking combination of red, black and blue, even features a checkerboard pattern, a pattern also seen in Martinez’s recurring head motif.\u003c/p>\n\u003cfigure id=\"attachment_13884363\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884363\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg\" alt=\"\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L) Sam Moyer, ‘Untitled,’ 2020; (R) Eddie Martinez, ‘Snakes Take,’ 2019. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the first time Martinez and Moyer, who are married and live in New York, have shared an exhibition. The show’s title comes from the name of their child, born in September last year—a collaboration of a different sort. A pairing of any artists forces viewers to draw connections between the two, but in this case, the artists also share a life.\u003c/p>\n\u003cp>And yet this particular pairing works well, beyond the novelty of a family show, because their work is so different. Where themes and similarities emerge—like between \u003ci>Snakes Take\u003c/i> and the glass works—it feels like a reward to close looking rather than evidence of one artist’s influence over the other.\u003c/p>\n\u003cfigure id=\"attachment_13884361\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Martinez, ‘Bird Whiteout,’ 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martinez’s works on paper and canvas are full of bold motion, thick brushstrokes and evidence of a laundry list of materials. One painting from 2020, \u003ci>Bird Whiteout\u003c/i>, is made from oil paint, silkscreen ink, oil bar, enamel, marker, foot print, pencil, push pins and canvas collage. His pieces push and pull at legibility through abstraction. A tennis ball is plainly visible in \u003ci>And Sports\u003c/i>, but in \u003ci>Bird Whiteout\u003c/i> only a cartoonish parrot is truly identifiable on the large canvas.\u003c/p>\n\u003cp>Moyer’s work, on the other hand, is much more restrained and orderly. But it’s not so restrained or orderly as to eliminate all possibility of chance. The glass works are a testament to this. Careful arrangements enter the kiln and emerge less precise, colors blending into one another and surfaces expanding with bulges.\u003c/p>\n\u003cp>In the marble and canvas pieces, Moyer balances the cool slices of stone with regular brushstrokes in muted tones of white, blue, green and gray. The pieces of marble are the off-cuts of other people’s projects (kitchen counters, bathroom floors); some bear measurements and labels on their edges. Moyer’s own marks answer those utilitarian bits of residue; she lines one canvas with washy horizontal stripes, another seems to mimic the veining of the stone it notches into.\u003c/p>\n\u003cfigure id=\"attachment_13884359\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Arthur’ with Sam Moyer’s untitled oil on bristol works, all 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last room of \u003ci>Arthur\u003c/i>, a long line of 12 framed works on paper hint at the push and pull of Moyer’s own process, one that uses cut-outs and patterning to carve up and map rectangular space. Nearby, an untitled painting by Martinez depicts three people at a table, one slightly smaller than the others. It could be two parents and a child.\u003c/p>\n\u003cp>Not as many people will get to see this show as likely would have before the pandemic. Perhaps more will see it online than in person. But those are different shows entirely. The distance between the two is vast, a whole dimension; I encourage as many as possible to traverse it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Arthur’ is on view Saturdays through Aug. 19 at Ratio 3 (2831A Mission Street) by appointment. \u003ca href=\"https://www.ratio3.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.[aside postID=\"news_11767493\"]\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"headTitle": "‘Paint Us in a Beautiful Light’: Photographing Black Joy | KQED",
"content": "\u003cp>The Instagram page curated Amir Abdul-Shakur, aka \u003ca href=\"https://www.instagram.com/amirthephotographer/\" target=\"_blank\" rel=\"noopener noreferrer\">Amir The Photographer\u003c/a>, looks like a community yearbook. His shots are mostly portraits of Black folks in Oakland, and show each individual in their own radiant light.\u003c/p>\n\u003cp>His images, some of protests and others of parties, all seem to have an underlying joyous sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13884147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/image_from_ios-800x800.jpg\" alt=\"Photographer Amir Abdul-Shakur\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Amir Abdul-Shakur \u003ccite>(Nancy Abdul-Shakur)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One image that caught my eye earlier this summer was a shot of Fitness owner \u003ca href=\"https://www.instagram.com/p/CB7SPA9h7cC/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Joli Zahra Drevitch.\u003c/a> The framing, the lighting, the strength in the posture of the subject– it all gave me a sense of joy.\u003c/p>\n\u003cp>After talking to Amir about the intended purpose of his photos, it seems like he’s meeting his intentions: highlighting Black joy.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7672608757&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Amir Abdul-Shakur.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. My thesis is to try to paint us in a beautiful light. it’s always been about elevating Black people and showing the beauty and, unfortunately, humanizing us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b> \u003cspan style=\"font-weight: 400\">Was there a moment, was there something that pushed you over the top? You’re like, yo, I got to start doing this right now?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>Around \u003cspan style=\"font-weight: 400\">2016 or 2017 my family was a part of a PBS documentary called \u003c/span>\u003ca href=\"https://www.pbs.org/show/talk-race-america/\">\u003cspan style=\"font-weight: 400\">The Talk: Race in America\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which focuses on law enforcement and how parents of color and particularly Black parents, mixed folks have conversations about law enforcement with their with their children. \u003c/span>And so we got a camera, because from there we thought we’re going to do a family channel and do vlogging. Fast forward to 2018, and the Black Joy Parade comes about. And I’m like, I got this brand new camera, got no shots on it and just take it out. And so I went out there, shot some images, then one grew to two, two and so forth.\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">I imagine that given your identity as a Black man, your partner’s identity as a Latina woman, you’re both Muslim. I imagine you have a lot to talk about with your son. How do you address everything? All of it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir:\u003c/b> \u003cspan style=\"font-weight: 400\">We try to keep it real as much as possible.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotcha. Does he understand what’s going on currently? With addressing police brutality and–. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b> \u003cspan style=\"font-weight: 400\">Absolutely. For an eight-year-old, he’s very, very much in tune with what’s going on. Cause, I mean, this the work that we do in general just kind of is privy to that, even as far as police brutality… \u003c/span>\u003cspan style=\"font-weight: 400\">Our family we’re dealing with a very personal kind of tragedy. On June 2nd in Vallejo, a young man named Sean Monterrosa was killed by law enforcement. And so my wife, Nancy, was his mentor for almost three years. So when he was murdered, it really hit my family hard and we still are dealing with that. So he knows about what’s going on. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13884190\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884190 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg\" alt=\"A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\"> This is this is a very difficult time to be Black and to be a parent. It’s a very scary time, it’s a very troubling time, it’s a very revolutionary time. Yeah. I can’t really describe anything like it, to be in a pandemic and then a racial pandemic. And then to have these conversations and to be you know, in the house cooped up and just trying to make sense of it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Instagram page curated Amir Abdul-Shakur, aka \u003ca href=\"https://www.instagram.com/amirthephotographer/\" target=\"_blank\" rel=\"noopener noreferrer\">Amir The Photographer\u003c/a>, looks like a community yearbook. His shots are mostly portraits of Black folks in Oakland, and show each individual in their own radiant light.\u003c/p>\n\u003cp>His images, some of protests and others of parties, all seem to have an underlying joyous sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13884147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/image_from_ios-800x800.jpg\" alt=\"Photographer Amir Abdul-Shakur\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Amir Abdul-Shakur \u003ccite>(Nancy Abdul-Shakur)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One image that caught my eye earlier this summer was a shot of Fitness owner \u003ca href=\"https://www.instagram.com/p/CB7SPA9h7cC/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Joli Zahra Drevitch.\u003c/a> The framing, the lighting, the strength in the posture of the subject– it all gave me a sense of joy.\u003c/p>\n\u003cp>After talking to Amir about the intended purpose of his photos, it seems like he’s meeting his intentions: highlighting Black joy.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7672608757&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Amir Abdul-Shakur.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. My thesis is to try to paint us in a beautiful light. it’s always been about elevating Black people and showing the beauty and, unfortunately, humanizing us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b> \u003cspan style=\"font-weight: 400\">Was there a moment, was there something that pushed you over the top? You’re like, yo, I got to start doing this right now?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>Around \u003cspan style=\"font-weight: 400\">2016 or 2017 my family was a part of a PBS documentary called \u003c/span>\u003ca href=\"https://www.pbs.org/show/talk-race-america/\">\u003cspan style=\"font-weight: 400\">The Talk: Race in America\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which focuses on law enforcement and how parents of color and particularly Black parents, mixed folks have conversations about law enforcement with their with their children. \u003c/span>And so we got a camera, because from there we thought we’re going to do a family channel and do vlogging. Fast forward to 2018, and the Black Joy Parade comes about. And I’m like, I got this brand new camera, got no shots on it and just take it out. And so I went out there, shot some images, then one grew to two, two and so forth.\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">I imagine that given your identity as a Black man, your partner’s identity as a Latina woman, you’re both Muslim. I imagine you have a lot to talk about with your son. How do you address everything? All of it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir:\u003c/b> \u003cspan style=\"font-weight: 400\">We try to keep it real as much as possible.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotcha. Does he understand what’s going on currently? With addressing police brutality and–. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b> \u003cspan style=\"font-weight: 400\">Absolutely. For an eight-year-old, he’s very, very much in tune with what’s going on. Cause, I mean, this the work that we do in general just kind of is privy to that, even as far as police brutality… \u003c/span>\u003cspan style=\"font-weight: 400\">Our family we’re dealing with a very personal kind of tragedy. On June 2nd in Vallejo, a young man named Sean Monterrosa was killed by law enforcement. And so my wife, Nancy, was his mentor for almost three years. So when he was murdered, it really hit my family hard and we still are dealing with that. So he knows about what’s going on. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13884190\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884190 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg\" alt=\"A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\"> This is this is a very difficult time to be Black and to be a parent. It’s a very scary time, it’s a very troubling time, it’s a very revolutionary time. Yeah. I can’t really describe anything like it, to be in a pandemic and then a racial pandemic. And then to have these conversations and to be you know, in the house cooped up and just trying to make sense of it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Peninsula Museum of Art Searches for a New Home—Again",
"headTitle": "The Peninsula Museum of Art Searches for a New Home—Again | KQED",
"content": "\u003cp>It’s been a tumultuous few months for museums forced to close due to COVID-19, and the \u003ca href=\"https://www.peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Peninsula Museum of Art\u003c/a> (PMA) has not been spared its share of sudden changes. The humble fine arts museum is not only looking for a new home; it now has new co-executive directors committed to carrying on its core mission of spotlighting regional talent. \u003c/p>\n\u003cp>After the coronavirus pandemic forced the PMA to close to the public in March, the museum’s leadership team was faced with yet another shutdown of sorts: an eviction from their home of the past seven years. \u003c/p>\n\u003cp>Officially, July 5 was the PMA’s last day in Burlingame. At least, for now. \u003c/p>\n\u003cp>While the pandemic was not anticipated, the museum’s temporary closure was inevitable. The 18,000-square-foot Burlingame complex of galleries, classrooms and studios was \u003ca href=\"https://www.smdailyjournal.com/arts_and_entertainment/peninsula-museum-of-art-looking-for-home/article_501e2d3a-4162-11e9-b195-572b45090a19.html\" rel=\"noopener noreferrer\" target=\"_blank\">long ago slated for redevelopment\u003c/a>, though its recent eviction was abrupt.\u003c/p>\n\u003cp>Renting space rather than owning a building has always been part of the institution’s structure. “What’s unique about us is that we’re one of the few art museums not founded by a rich collector,” said Ruth Waters, the PMA’s founder and a working sculptor now in her 80s. Rather than rely on wealthy individuals, the nonprofit is sustained through foundation funding, donations and event and class fees, as well as nearly all-volunteer labor. (The only paid contractors are the website administrator and exhibition installer.) “We’re all worker bees from the art community,” Waters added. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another less anticipated change was Waters’ decision to formally step down as executive director and board chair on June 23. Longtime board members Christina Chahal and Megan Kamrath now serve as the museum’s co-executive directors.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Christina Chahal, co-director, Peninsula Museum of Art']“In a weird way, this eviction allows us to refocus on our core mission, which is identifying and elevating regional artists.”[/pullquote]Waters has always straddled the worlds of art-making and art administration. After graduating from Stanford in 1955 and starting a family, she founded the Twin Pines Art Center in Belmont in 1977. The Peninsula Museum of Art, which was established in Belmont in 2003 and moved to Burlingame in 2013, was created from the same blueprint: offering artists studio space to work as well as exhibit, and welcoming the public free of charge. The institution also filled a geographic niche, showcasing regional fine art south of San Francisco’s major museums and north of Stanford’s Cantor Arts Center.\u003c/p>\n\u003cp>For Kamrath and Chahal, their most crucial task is reimagining what their institution offers mid-peninsula arts patrons. “In a weird way, this eviction allows us to refocus on our core mission, which is identifying and elevating regional artists,” said Chahal. “This is an opportunity to look at our programming and ask, what has engaged the public the most? We’re using this time to reinvent and refocus on what best serves our local community and our fabulous regional artists.”\u003c/p>\n\u003cp>The PMA shuttered before the scheduled conclusion of an eclectic array of exhibitions, including Kamal Al Mansour’s \u003ci>\u003ca href=\"https://www.peninsulamuseum.org/exhibits/kamal-al-mansour-art-weapon\" rel=\"noopener noreferrer\" target=\"_blank\">Art is the Weapon\u003c/a>\u003c/i>, a showcase of the artist’s mixed-media assemblages, including large portraits of African American cultural icons like Maya Angelou and Fela Kuti.\u003c/p>\n\u003cfigure id=\"attachment_13884112\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Museum-show_1200.jpg\" alt=\"\" width=\"1200\" height=\"817\" class=\"size-full wp-image-13884112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-768x523.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition at the Peninsula Museum of Art before it closed due to the coronavirus pandemic. \u003ccite>(Courtesy PMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new leaders’ other top priority is identifying a new physical home for the museum—ideally in San Mateo County, where the PMA is the only major fine arts museum. Even before the coronavirus, Chahal notes, snarled traffic between San Jose and San Francisco, as well as a more deliberate focus on supporting nearby arts and culture, has meant more peninsula residents were intentionally investing in local art offerings. \u003c/p>\n\u003cp>“This is now even more obvious in this pandemic, as people stay close to home and become much more focused on their hyperlocal area,” Chahal said. “And that’s the mission of the museum!”\u003c/p>\n\u003cp>The point is salient for Kamrath, who got involved with the PMA after moving to the Bay Area from Minnesota two years ago. Living close to the museum, she initially signed up to be a docent and got more deeply involved after working closely with others who shared her passion. “I’m an aspiring artist, and I wanted to find a community I could relate to,” she said.\u003c/p>\n\u003cp>Chahal, who grew up in the Bay Area with an artist mother, returned to the region the same year the PMA moved from Belmont to Burlingame. At nearby major institutions, she noted, visitors might enjoy a marvelous exhibition but never get to meet the artists—unless those visitors were also major donors.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Ruth Waters, founder, Peninsula Museum of Art']“I’m concerned that this not just disappear.”[/pullquote]“It’s a rare museum where you can meet and talk to the artists whose work is on the wall,” she said of the PMA. “For artists who often work in solitude, to be able to show their work and have the public share the space and engage with them—it’s an amazing thing to be a part of.”\u003c/p>\n\u003cp>While they search for a new location, the museum’s permanent collection is in climate-controlled storage in an undisclosed location, though Chahal emphasizes that the word “permanent” should not be misunderstood as relating to size.\u003c/p>\n\u003cp>“The collection is really tiny,” she said, explaining that much of the museum’s holdings were generously gifted by artists who showed work at the PMA. “If it was all stacked up, it could fit in a dining room.”\u003c/p>\n\u003cp>While preserving the collection is key, other programs and offerings have been deemed nonessential. The museum’s library was liquidated; it grew from donations over the years, without an overarching curatorial vision. The temporary closure also means that for now, the artists working at the PMA were forced to relocate. So far, Waters and a dozen others have set up studios in San Carlos’ \u003ca href=\"https://www.artbias.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Art Bias\u003c/a>.\u003c/p>\n\u003cp>As the museum’s founder, Waters remains involved in supporting the museum’s next chapter. “My focus is looking for our next location,” she explained, noting she’s been actively searching for a new space for the past two years. “I’m concerned that this not just disappear.”\u003c/p>\n\u003cp>Kamrath emphasizes that won’t happen; the museum is merely in hibernation. “The PMA does not have a physical location, but we are not permanently closed,” she said. “We have just transitioned to a virtual environment with the intention that we will find a place for artists to exhibit again.”\u003c/p>\n\u003cp>As co-directors, Kamrath and Chahal agree that the allure of the PMA has always been the ability to meet artists and create connections in real time. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The value of what is brought to the museum was always temporal,” Chahal said. “We build up and then take down—a lot like Burning Man.”\u003c/p>\n\n",
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"excerpt": "Even an eviction and a pandemic can’t destroy the scrappy San Mateo County institution. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a tumultuous few months for museums forced to close due to COVID-19, and the \u003ca href=\"https://www.peninsulamuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Peninsula Museum of Art\u003c/a> (PMA) has not been spared its share of sudden changes. The humble fine arts museum is not only looking for a new home; it now has new co-executive directors committed to carrying on its core mission of spotlighting regional talent. \u003c/p>\n\u003cp>After the coronavirus pandemic forced the PMA to close to the public in March, the museum’s leadership team was faced with yet another shutdown of sorts: an eviction from their home of the past seven years. \u003c/p>\n\u003cp>Officially, July 5 was the PMA’s last day in Burlingame. At least, for now. \u003c/p>\n\u003cp>While the pandemic was not anticipated, the museum’s temporary closure was inevitable. The 18,000-square-foot Burlingame complex of galleries, classrooms and studios was \u003ca href=\"https://www.smdailyjournal.com/arts_and_entertainment/peninsula-museum-of-art-looking-for-home/article_501e2d3a-4162-11e9-b195-572b45090a19.html\" rel=\"noopener noreferrer\" target=\"_blank\">long ago slated for redevelopment\u003c/a>, though its recent eviction was abrupt.\u003c/p>\n\u003cp>Renting space rather than owning a building has always been part of the institution’s structure. “What’s unique about us is that we’re one of the few art museums not founded by a rich collector,” said Ruth Waters, the PMA’s founder and a working sculptor now in her 80s. Rather than rely on wealthy individuals, the nonprofit is sustained through foundation funding, donations and event and class fees, as well as nearly all-volunteer labor. (The only paid contractors are the website administrator and exhibition installer.) “We’re all worker bees from the art community,” Waters added. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another less anticipated change was Waters’ decision to formally step down as executive director and board chair on June 23. Longtime board members Christina Chahal and Megan Kamrath now serve as the museum’s co-executive directors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Waters has always straddled the worlds of art-making and art administration. After graduating from Stanford in 1955 and starting a family, she founded the Twin Pines Art Center in Belmont in 1977. The Peninsula Museum of Art, which was established in Belmont in 2003 and moved to Burlingame in 2013, was created from the same blueprint: offering artists studio space to work as well as exhibit, and welcoming the public free of charge. The institution also filled a geographic niche, showcasing regional fine art south of San Francisco’s major museums and north of Stanford’s Cantor Arts Center.\u003c/p>\n\u003cp>For Kamrath and Chahal, their most crucial task is reimagining what their institution offers mid-peninsula arts patrons. “In a weird way, this eviction allows us to refocus on our core mission, which is identifying and elevating regional artists,” said Chahal. “This is an opportunity to look at our programming and ask, what has engaged the public the most? We’re using this time to reinvent and refocus on what best serves our local community and our fabulous regional artists.”\u003c/p>\n\u003cp>The PMA shuttered before the scheduled conclusion of an eclectic array of exhibitions, including Kamal Al Mansour’s \u003ci>\u003ca href=\"https://www.peninsulamuseum.org/exhibits/kamal-al-mansour-art-weapon\" rel=\"noopener noreferrer\" target=\"_blank\">Art is the Weapon\u003c/a>\u003c/i>, a showcase of the artist’s mixed-media assemblages, including large portraits of African American cultural icons like Maya Angelou and Fela Kuti.\u003c/p>\n\u003cfigure id=\"attachment_13884112\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Museum-show_1200.jpg\" alt=\"\" width=\"1200\" height=\"817\" class=\"size-full wp-image-13884112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Museum-show_1200-768x523.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition at the Peninsula Museum of Art before it closed due to the coronavirus pandemic. \u003ccite>(Courtesy PMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new leaders’ other top priority is identifying a new physical home for the museum—ideally in San Mateo County, where the PMA is the only major fine arts museum. Even before the coronavirus, Chahal notes, snarled traffic between San Jose and San Francisco, as well as a more deliberate focus on supporting nearby arts and culture, has meant more peninsula residents were intentionally investing in local art offerings. \u003c/p>\n\u003cp>“This is now even more obvious in this pandemic, as people stay close to home and become much more focused on their hyperlocal area,” Chahal said. “And that’s the mission of the museum!”\u003c/p>\n\u003cp>The point is salient for Kamrath, who got involved with the PMA after moving to the Bay Area from Minnesota two years ago. Living close to the museum, she initially signed up to be a docent and got more deeply involved after working closely with others who shared her passion. “I’m an aspiring artist, and I wanted to find a community I could relate to,” she said.\u003c/p>\n\u003cp>Chahal, who grew up in the Bay Area with an artist mother, returned to the region the same year the PMA moved from Belmont to Burlingame. At nearby major institutions, she noted, visitors might enjoy a marvelous exhibition but never get to meet the artists—unless those visitors were also major donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s a rare museum where you can meet and talk to the artists whose work is on the wall,” she said of the PMA. “For artists who often work in solitude, to be able to show their work and have the public share the space and engage with them—it’s an amazing thing to be a part of.”\u003c/p>\n\u003cp>While they search for a new location, the museum’s permanent collection is in climate-controlled storage in an undisclosed location, though Chahal emphasizes that the word “permanent” should not be misunderstood as relating to size.\u003c/p>\n\u003cp>“The collection is really tiny,” she said, explaining that much of the museum’s holdings were generously gifted by artists who showed work at the PMA. “If it was all stacked up, it could fit in a dining room.”\u003c/p>\n\u003cp>While preserving the collection is key, other programs and offerings have been deemed nonessential. The museum’s library was liquidated; it grew from donations over the years, without an overarching curatorial vision. The temporary closure also means that for now, the artists working at the PMA were forced to relocate. So far, Waters and a dozen others have set up studios in San Carlos’ \u003ca href=\"https://www.artbias.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Art Bias\u003c/a>.\u003c/p>\n\u003cp>As the museum’s founder, Waters remains involved in supporting the museum’s next chapter. “My focus is looking for our next location,” she explained, noting she’s been actively searching for a new space for the past two years. “I’m concerned that this not just disappear.”\u003c/p>\n\u003cp>Kamrath emphasizes that won’t happen; the museum is merely in hibernation. “The PMA does not have a physical location, but we are not permanently closed,” she said. “We have just transitioned to a virtual environment with the intention that we will find a place for artists to exhibit again.”\u003c/p>\n\u003cp>As co-directors, Kamrath and Chahal agree that the allure of the PMA has always been the ability to meet artists and create connections in real time. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Students Suffer Whiplash as SFAI Decides to Offer Classes After All",
"headTitle": "Students Suffer Whiplash as SFAI Decides to Offer Classes After All | KQED",
"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>\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.\u003c/p>\u003c/div>",
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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>DeAndre Drake, an artist from Oakland who works under the name \u003ca href=\"https://airballin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Airballin\u003c/a>, recently airbrushed a casket with images of victims of police brutality. And for lack of a better word, it’s beautiful.\u003c/p>\n\u003cp>The casket is vibrant. Next to the names and faces with which we’ve come to be familiar, Drake has painted images of people who took notable political stands: Muhammad Ali, Colin Kaepernick and Assata Shakur. There’s also a police line’s yellow tape, an American flag, a Confederate flag, the 14th Amendment, a baby in the crosshairs of a rifle’s scope and JFK’s famous words: “We must never forget that art is not a form of propaganda, it is a form of truth.”\u003c/p>\n\u003cp>Drake reveals the casket to the public on Saturday, July 18, as part of the pop-up art show \u003cem>\u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">My Skin Is Not A Crime\u003c/a>\u003c/em> at the Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cp>Drake’s casket comes during an ongoing series of actions this summer in response to the issue of police brutality. I’ve seen people jogging in solidarity, sitting in honor of those killed and even skateboarding down Twin Peaks while toting signs that read “Black Lives Matter.”\u003c/p>\n\u003cp>But this show of solidarity is a bit more morbid, and blunt. It’s also a new level of artwork for Drake.\u003c/p>\n\u003cfigure id=\"attachment_13883356\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13883356 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg\" alt='The \"My Skin Is Not a Crime\" airbrushed casket' width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343.jpeg 1920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The ‘My Skin Is Not a Crime’ airbrushed casket, created by DeAndre Drake.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, he airbrushed backpacks as a part of a giveaway for school kids in Oakland. He once used an Indy car as a canvas for a paint job inspired by Pink Floyd’s \u003cem>The Wall\u003c/em>. In December of 2018, \u003ca href=\"https://www.kqed.org/arts/13847457/the-delicate-art-of-adulting-during-the-holidays\" target=\"_blank\" rel=\"noopener noreferrer\">I watched\u003c/a> as he and his daughter painted nude models at a warehouse in West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So why suddenly make a political statement with a casket?\u003c/p>\n\u003cp>“The most touching part of George Floyd’s story was the quote from his daughter,” says Drake over the phone. “’My daddy changed the world.’”\u003c/p>\n\u003cp>Drake wants his own daughter to be able to look at him and say the same words—not just because he painted a casket, but because he used his art to bring awareness. “It’s not guaranteed to change the world, but it’s my attempt,” he says.\u003c/p>\n\u003cp>And he’s not alone in his effort, the community has already shown support.\u003c/p>\n\u003cp>Drake says that after paying for the casket in full, he told the business, \u003ca href=\"https://titancasket.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Titan Casket\u003c/a>, about his plans. They immediately refunded him 25% of the total.\u003c/p>\n\u003cp>When he ran behind on finishing the project, he got backup from another artist, \u003ca href=\"https://www.instagram.com/richairbrush/\" target=\"_blank\" rel=\"noopener noreferrer\">Rich Diltz\u003c/a>, who came down from the Sacramento area to support the endeavor.\u003c/p>\n\u003cp>The Joyce Gordon Gallery is hosting the casket and, on Saturday, holding a \u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">memorial\u003c/a> dedicated to those who’ve lost their lives to police violence. Cephus X Johnson (aka “Uncle Bobby”), the uncle of Oscar Grant and a police accountability activist, is scheduled to speak.\u003c/p>\n\u003cp>And the casket itself will have a mock funeral procession, with a real hearse donated by Thompson Funeral home. That procession will be flanked by a group of bikers, convening at the \u003ca href=\"https://www.google.com/maps/place/Jamba+Rockridge+Shopping+Center/@37.8333862,-122.2517,17z/data=!3m1!4b1!4m5!3m4!1s0x80857defaf03e58f:0x849cfd6826678a94!8m2!3d37.833382!4d-122.249506\" target=\"_blank\" rel=\"noopener noreferrer\">Rockridge Jamba Juice\u003c/a> at 12:45pm and leaving at 1:45pm. The bikers are scheduled to meet up with the hearse at the \u003ca href=\"https://www.google.com/maps/place/Lucky/@37.7996682,-122.255534,17z/data=!3m1!4b1!4m12!1m6!3m5!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!2sLucky!8m2!3d37.799664!4d-122.25334!3m4!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!8m2!3d37.799664!4d-122.25334\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky’s on E. 18th\u003c/a> around 2:15pm, and then ride the southern rim of Lake Merritt all the way to the Joyce Gordon Gallery on 14th Street.\u003c/p>\n\u003cp>The memorial event runs from 3pm to 7pm, and afterward, the casket will be on display in the gallery for a short period.\u003c/p>\n\u003cfigure id=\"attachment_13883558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13883558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg\" alt=\"Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \u003ccite>(Airballin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drake says there are three larger goals for his piece of art. First, he’d love for the casket to go on a tour of museums and galleries around the United States, once they’ve reopened to the public. He’d eventually like it to be at the Oakland Musuem of California for some time. And lastly, he wants to auction the casket and donate the money to local organizations who provide frontline services for the African American community.\u003c/p>\n\u003cp>These are ambitious goals, but Drake isn’t easily intimidated—he’s already overcome a lot in his career as an artist.\u003c/p>\n\u003cp>This coming fall he’s set to release a documentary called \u003cem>Pen to Pencil\u003c/em>, which chronicles how he picked up the craft while incarcerated, and always saw his artwork as a way to make money.\u003c/p>\n\u003cp>“I’ve never done political work in my art career,” says Drake. “I’ve always done art as a business, from day one. And I was told early on in my business career, ‘Never mix your politics with your business.'”\u003c/p>\n\u003cp>That’s why he kept his personal feelings out of his art for so long; to reach a larger audience and not ruffle any feathers while doing so. But now he has no hesitation about using his art to make statements, even if that means losing some clients. “The business I would possibly be losing now isn’t the business I want anyways,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While it’s honorable for any artist, especially an “artistic hustler,” to fight for change, I’d argue that in the mere fact he’s created this eye-catching work, the change has already been created, and the world slightly altered. If for no one else, then for a little girl out there who can say, “My daddy did that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>DeAndre Drake, an artist from Oakland who works under the name \u003ca href=\"https://airballin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Airballin\u003c/a>, recently airbrushed a casket with images of victims of police brutality. And for lack of a better word, it’s beautiful.\u003c/p>\n\u003cp>The casket is vibrant. Next to the names and faces with which we’ve come to be familiar, Drake has painted images of people who took notable political stands: Muhammad Ali, Colin Kaepernick and Assata Shakur. There’s also a police line’s yellow tape, an American flag, a Confederate flag, the 14th Amendment, a baby in the crosshairs of a rifle’s scope and JFK’s famous words: “We must never forget that art is not a form of propaganda, it is a form of truth.”\u003c/p>\n\u003cp>Drake reveals the casket to the public on Saturday, July 18, as part of the pop-up art show \u003cem>\u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">My Skin Is Not A Crime\u003c/a>\u003c/em> at the Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cp>Drake’s casket comes during an ongoing series of actions this summer in response to the issue of police brutality. I’ve seen people jogging in solidarity, sitting in honor of those killed and even skateboarding down Twin Peaks while toting signs that read “Black Lives Matter.”\u003c/p>\n\u003cp>But this show of solidarity is a bit more morbid, and blunt. It’s also a new level of artwork for Drake.\u003c/p>\n\u003cfigure id=\"attachment_13883356\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13883356 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg\" alt='The \"My Skin Is Not a Crime\" airbrushed casket' width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_2445-scaled-e1594788064343.jpeg 1920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The ‘My Skin Is Not a Crime’ airbrushed casket, created by DeAndre Drake.\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, he airbrushed backpacks as a part of a giveaway for school kids in Oakland. He once used an Indy car as a canvas for a paint job inspired by Pink Floyd’s \u003cem>The Wall\u003c/em>. In December of 2018, \u003ca href=\"https://www.kqed.org/arts/13847457/the-delicate-art-of-adulting-during-the-holidays\" target=\"_blank\" rel=\"noopener noreferrer\">I watched\u003c/a> as he and his daughter painted nude models at a warehouse in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So why suddenly make a political statement with a casket?\u003c/p>\n\u003cp>“The most touching part of George Floyd’s story was the quote from his daughter,” says Drake over the phone. “’My daddy changed the world.’”\u003c/p>\n\u003cp>Drake wants his own daughter to be able to look at him and say the same words—not just because he painted a casket, but because he used his art to bring awareness. “It’s not guaranteed to change the world, but it’s my attempt,” he says.\u003c/p>\n\u003cp>And he’s not alone in his effort, the community has already shown support.\u003c/p>\n\u003cp>Drake says that after paying for the casket in full, he told the business, \u003ca href=\"https://titancasket.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Titan Casket\u003c/a>, about his plans. They immediately refunded him 25% of the total.\u003c/p>\n\u003cp>When he ran behind on finishing the project, he got backup from another artist, \u003ca href=\"https://www.instagram.com/richairbrush/\" target=\"_blank\" rel=\"noopener noreferrer\">Rich Diltz\u003c/a>, who came down from the Sacramento area to support the endeavor.\u003c/p>\n\u003cp>The Joyce Gordon Gallery is hosting the casket and, on Saturday, holding a \u003ca href=\"https://www.instagram.com/p/CCjeLLvMcD5/\" target=\"_blank\" rel=\"noopener noreferrer\">memorial\u003c/a> dedicated to those who’ve lost their lives to police violence. Cephus X Johnson (aka “Uncle Bobby”), the uncle of Oscar Grant and a police accountability activist, is scheduled to speak.\u003c/p>\n\u003cp>And the casket itself will have a mock funeral procession, with a real hearse donated by Thompson Funeral home. That procession will be flanked by a group of bikers, convening at the \u003ca href=\"https://www.google.com/maps/place/Jamba+Rockridge+Shopping+Center/@37.8333862,-122.2517,17z/data=!3m1!4b1!4m5!3m4!1s0x80857defaf03e58f:0x849cfd6826678a94!8m2!3d37.833382!4d-122.249506\" target=\"_blank\" rel=\"noopener noreferrer\">Rockridge Jamba Juice\u003c/a> at 12:45pm and leaving at 1:45pm. The bikers are scheduled to meet up with the hearse at the \u003ca href=\"https://www.google.com/maps/place/Lucky/@37.7996682,-122.255534,17z/data=!3m1!4b1!4m12!1m6!3m5!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!2sLucky!8m2!3d37.799664!4d-122.25334!3m4!1s0x808f8739eddd00d3:0x5dd486b4c19fb65c!8m2!3d37.799664!4d-122.25334\" target=\"_blank\" rel=\"noopener noreferrer\">Lucky’s on E. 18th\u003c/a> around 2:15pm, and then ride the southern rim of Lake Merritt all the way to the Joyce Gordon Gallery on 14th Street.\u003c/p>\n\u003cp>The memorial event runs from 3pm to 7pm, and afterward, the casket will be on display in the gallery for a short period.\u003c/p>\n\u003cfigure id=\"attachment_13883558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13883558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg\" alt=\"Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Airballin.Casket.Above_.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Bland, the 14th Amendment, an enslaved young man, Trayvon Martin and Nia Wilson all grace the casket created by DeAndre Drake. \u003ccite>(Airballin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drake says there are three larger goals for his piece of art. First, he’d love for the casket to go on a tour of museums and galleries around the United States, once they’ve reopened to the public. He’d eventually like it to be at the Oakland Musuem of California for some time. And lastly, he wants to auction the casket and donate the money to local organizations who provide frontline services for the African American community.\u003c/p>\n\u003cp>These are ambitious goals, but Drake isn’t easily intimidated—he’s already overcome a lot in his career as an artist.\u003c/p>\n\u003cp>This coming fall he’s set to release a documentary called \u003cem>Pen to Pencil\u003c/em>, which chronicles how he picked up the craft while incarcerated, and always saw his artwork as a way to make money.\u003c/p>\n\u003cp>“I’ve never done political work in my art career,” says Drake. “I’ve always done art as a business, from day one. And I was told early on in my business career, ‘Never mix your politics with your business.'”\u003c/p>\n\u003cp>That’s why he kept his personal feelings out of his art for so long; to reach a larger audience and not ruffle any feathers while doing so. But now he has no hesitation about using his art to make statements, even if that means losing some clients. “The business I would possibly be losing now isn’t the business I want anyways,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While it’s honorable for any artist, especially an “artistic hustler,” to fight for change, I’d argue that in the mere fact he’s created this eye-catching work, the change has already been created, and the world slightly altered. If for no one else, then for a little girl out there who can say, “My daddy did that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"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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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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