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(In 2010, the nine-county Bay Area was 23% Asian, 24% Hispanic/Latinx and 7% African American.)\u003c/p>\n\u003cp>And while CCA distributes millions in institutional financial aid each year, only one named scholarship is specifically earmarked for African American students, with another four categorized as “diversity” scholarships. CCA says it is unable to use race or ethnicity as a deciding factor in bestowing scholarships because of Proposition 209, which most famously ended affirmative action practices at UC schools in 1996. \u003c/p>\n\u003cp>During a nationwide reckoning for racial justice, the student leaders behind the Working Class & BIPOC Grant Campaign have moved quickly and independently to circumnavigate such restrictions, opting instead for mutual aid. Their fundraiser is both functional and symbolic, modeling a program CCA might one day be able to implement (\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-asking-voters-whether-to-repeal-15331604.php\" rel=\"noopener noreferrer\" target=\"_blank\">a repeal of Proposition 209\u003c/a> will appear on state ballots this November). \u003c/p>\n\u003ch2>A Student-Led Campaign\u003c/h2>\n\u003cp>Lindsay Guinan, a third-year animation student, is one of ten student organizers behind the fundraiser. “I’m so grateful to be living through the literal largest civil rights movement to date,” she says. Participating in recent Black Lives Matter protests prompted her to look critically at the communities in which she was already involved: “And CCA is a community that I think desperately needs help in terms of equity for Black students and Indigenous students and students of color.” \u003c/p>\n\u003cp>The fundraiser was originally planned to conclude in October, but Guinan says they may shorten the timeframe to release funds before the fall semester starts on Sept. 3. As of publication, the group, which includes members of the 24 Frames Animation Club, the Black Brilliance Club, the Students of Color Coalition, Student Council and Student Union of California College of the Arts, has raised over $12,000 from 132 donors—a feat achieved in under four weeks. \u003c/p>\n\u003cp>https://www.instagram.com/p/CCt2bnvAJgs/\u003c/p>\n\u003cp>By establishing itself as completely independent from the school, the campaign has both advantages and disadvantages. Funds can be dispersed immediately, without going through official channels, but the campaign has to gather information about who is eligible to receive those funds on their own. To that end, they’ve created a survey for CCA students to complete; Guinan says they received 200 responses in the first two days. \u003c/p>\n\u003cp>Alongside demographic questions about ethnicity and gender identity are queries like, “Have you felt unsafe at CCA due to direct or indirect racism, ableism, transphobia, homophobia, sexism, classism, national origin?” The survey also wants to know if students notified CCA of such experiences and if the school took action in response to any complaints.\u003c/p>\n\u003cp>CCA, like most institutions of higher education across the country, is currently examining its past and current practices regarding racial justice and equity. The \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/\" rel=\"noopener noreferrer\" target=\"_blank\">President’s Diversity Steering Group\u003c/a>, made up of faculty, staff and students, has organized an \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/cca-community-recommendations-racial-justice-equity-initiatives/\" rel=\"noopener noreferrer\" target=\"_blank\">extensive list of recommendations\u003c/a> submitted by members of the CCA community since the national uprisings following the police killing of George Floyd. Among the suggestions are calls to create a center for Black visual culture and curatorial practice, to establish a land acknowledgment on the school’s website, and to require white faculty members to attend anti-racism training. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘More Funding is Needed’\u003c/h2>\n\u003cp>CCA spokesperson Taryn Lott says the school expects the list of current and ongoing initiatives to grow, especially with regards to programming and curriculum, when members of the faculty return from the summer break. As for CCA’s response to the call for additional funding for working class and BIPOC students, Lott wrote in an email, “While CCA has made progress in raising diversity scholarships, college leadership recognizes that more funding is needed and continues to pursue increased support for our students.” Lott says CCA has raised $635,000 toward diversity scholarship awards since May.\u003c/p>\n\u003cp>The school currently distributes $25 million in institutional financial aid, 65% of which Lott says went to BIPOC and working class undergraduate and graduate students last year, which includes U.S. citizens, permanent residents and DACA recipients. Diversity scholarships comprise 10% of the school’s endowment at $3 million. \u003c/p>\n\u003cp>But Guinan says what she’s heard from CCA’s Black students in particular is that the diversity scholarship program doesn’t prioritize them and they often don’t see those funds. The scholarships, according to CCA’s website, are offered to “students from educationally disadvantaged families who have demonstrated academic and artistic achievement, students with demonstrated leadership in service to the community, and students whose work focuses on social or cultural issues.”\u003c/p>\n\u003cp>The Working Class & BIPOC Grant Campaign hopes to disburse $1,000 each to those who need help with rent and larger expenses, and $500 grants for assistance with artist supplies and other “hidden fees that really add up,” Guinan explains. CCA estimates the additional costs of attending the school while living in the Bay Area, factoring in fees, housing, transportation, food and supplies, can amount to around $25,000.\u003c/p>\n\u003cfigure id=\"attachment_13883981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13883981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-768x433.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student projects in the Nave at CCA’s San Francisco campus. \u003ccite>(Nicholas Lea Bruno/CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, \u003ca href=\"https://portal.cca.edu/thriving/health-wellness/novel-coronavirus-covid19/fall-2020-semester-will-be-online/\" rel=\"noopener noreferrer\" target=\"_blank\">CCA announced\u003c/a> all of the upcoming fall semester’s courses will be taught completely remotely due to new guidance from the San Francisco Department of Public Health—not, as the school had hoped, in a combination of in-person and remote instruction. Though the school’s Oakland and San Francisco campuses will be completely closed to students until it is deemed safe to reopen—meaning no access to studios, wood shops, computer labs or the library—the school will continue to offer single-occupancy on-campus housing for students who need or want to live at CCA. \u003c/p>\n\u003cp>Unlike SFAI, which recently \u003ca href=\"https://www.kqed.org/arts/13883757/sfai-reinstates-degree-programs-faculty-students\" rel=\"noopener noreferrer\" target=\"_blank\">enticed students to re-enroll\u003c/a> with offers of a 50% tuition cut, CCA’s 2020–21 tuition is frozen at the previous school year’s rate. The only cuts were to a planned 4% increase. \u003c/p>\n\u003ch2>The Speedy Delivery of Grants\u003c/h2>\n\u003cp>Part of the impetus for keeping the Working Class & BIPOC Grant Campaign separate from the school, Guinan says, was a dissatisfaction with the speed at which CCA was able to disperse coronavirus-related relief funds to the student body. CCA received a total of nearly $1.4 million from the CARES Act fund, half of which will be disbursed in emergency financial aid grants of $500–$3,000 to eligible students between the 2019–20 and 2020–21 school years. Lott says their records indicate 745 students may be eligible to apply for these funds; so far 104 requests have been approved. (Dispersal \u003ca href=\"https://www.forbes.com/sites/wesleywhistle/2020/06/11/devos-finalizes-rule-blocking-undocumented-students-from-cares-act-grants/#2928675675a0\" rel=\"noopener noreferrer\" target=\"_blank\">was slowed\u003c/a> by a lack of guidance from the Department of Education.) \u003c/p>\n\u003cp>Additionally, CCA launched their own emergency fund to assist with students’ basic immediate needs in the face of the pandemic. Of the $30,686 raised, only $4,700 has been distributed to 40 students (decisions are made on a case-by-case basis and factor in the students’ financial aid and financial need) in the form of gift cards to grocery stores, general retailers and an art supplies store.\u003c/p>\n\u003cp>In the spirit of mutual aid, the student-led fundraiser will issue its grants without any such limitations, trusting recipients to know what they themselves need. Guinan hopes the success of this campaign will push the school to ultimately change the way it supports its working class and BIPOC students, from the bottom up. \u003c/p>\n\u003cp>“We all are putting our careers at CCA in some sort of jeopardy in some capacity,” she says. “And I just want to acknowledge that our team is working super hard and tackling this in multiple ways. The energy and the momentum is really strong and I just feel grateful to have this opportunity to hopefully effect some structural change at CCA.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A handful of California College of the Arts students, energized by the movement for Black lives, have started a fundraiser for their classmates, hoping to offset the expense of a private art school education with unrestricted grants of $500–$1,000.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.gofundme.com/f/working-class-bipoc-at-cca-fundraiser\" rel=\"noopener noreferrer\" target=\"_blank\">Working Class & BIPOC Grant Campaign\u003c/a>, launched July 2, seeks to “catalyze the change necessary to make our school viable for all of its students.” The fundraiser’s end goal, beyond raising $35,000, is to push CCA to create a separate scholarship for Black and Indigenous students and students of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pointing to the high cost of living in the Bay Area and CCA’s 2020–21 tuition of over $50,000, the organizers, a coalition of leaders from five different student groups, hope to address an “unacceptable disconnect between higher education and the BIPOC artist community in the Bay Area.” \u003c/p>\n\u003cp>CCA’s \u003ca href=\"https://www.cca.edu/admissions/facts/\" rel=\"noopener noreferrer\" target=\"_blank\">student body\u003c/a> is 14% Asian American, 13% Hispanic/Latinx and 4% African American. (In 2010, the nine-county Bay Area was 23% Asian, 24% Hispanic/Latinx and 7% African American.)\u003c/p>\n\u003cp>And while CCA distributes millions in institutional financial aid each year, only one named scholarship is specifically earmarked for African American students, with another four categorized as “diversity” scholarships. CCA says it is unable to use race or ethnicity as a deciding factor in bestowing scholarships because of Proposition 209, which most famously ended affirmative action practices at UC schools in 1996. \u003c/p>\n\u003cp>During a nationwide reckoning for racial justice, the student leaders behind the Working Class & BIPOC Grant Campaign have moved quickly and independently to circumnavigate such restrictions, opting instead for mutual aid. Their fundraiser is both functional and symbolic, modeling a program CCA might one day be able to implement (\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-asking-voters-whether-to-repeal-15331604.php\" rel=\"noopener noreferrer\" target=\"_blank\">a repeal of Proposition 209\u003c/a> will appear on state ballots this November). \u003c/p>\n\u003ch2>A Student-Led Campaign\u003c/h2>\n\u003cp>Lindsay Guinan, a third-year animation student, is one of ten student organizers behind the fundraiser. “I’m so grateful to be living through the literal largest civil rights movement to date,” she says. Participating in recent Black Lives Matter protests prompted her to look critically at the communities in which she was already involved: “And CCA is a community that I think desperately needs help in terms of equity for Black students and Indigenous students and students of color.” \u003c/p>\n\u003cp>The fundraiser was originally planned to conclude in October, but Guinan says they may shorten the timeframe to release funds before the fall semester starts on Sept. 3. As of publication, the group, which includes members of the 24 Frames Animation Club, the Black Brilliance Club, the Students of Color Coalition, Student Council and Student Union of California College of the Arts, has raised over $12,000 from 132 donors—a feat achieved in under four weeks. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By establishing itself as completely independent from the school, the campaign has both advantages and disadvantages. Funds can be dispersed immediately, without going through official channels, but the campaign has to gather information about who is eligible to receive those funds on their own. To that end, they’ve created a survey for CCA students to complete; Guinan says they received 200 responses in the first two days. \u003c/p>\n\u003cp>Alongside demographic questions about ethnicity and gender identity are queries like, “Have you felt unsafe at CCA due to direct or indirect racism, ableism, transphobia, homophobia, sexism, classism, national origin?” The survey also wants to know if students notified CCA of such experiences and if the school took action in response to any complaints.\u003c/p>\n\u003cp>CCA, like most institutions of higher education across the country, is currently examining its past and current practices regarding racial justice and equity. The \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/\" rel=\"noopener noreferrer\" target=\"_blank\">President’s Diversity Steering Group\u003c/a>, made up of faculty, staff and students, has organized an \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/cca-community-recommendations-racial-justice-equity-initiatives/\" rel=\"noopener noreferrer\" target=\"_blank\">extensive list of recommendations\u003c/a> submitted by members of the CCA community since the national uprisings following the police killing of George Floyd. Among the suggestions are calls to create a center for Black visual culture and curatorial practice, to establish a land acknowledgment on the school’s website, and to require white faculty members to attend anti-racism training. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘More Funding is Needed’\u003c/h2>\n\u003cp>CCA spokesperson Taryn Lott says the school expects the list of current and ongoing initiatives to grow, especially with regards to programming and curriculum, when members of the faculty return from the summer break. As for CCA’s response to the call for additional funding for working class and BIPOC students, Lott wrote in an email, “While CCA has made progress in raising diversity scholarships, college leadership recognizes that more funding is needed and continues to pursue increased support for our students.” Lott says CCA has raised $635,000 toward diversity scholarship awards since May.\u003c/p>\n\u003cp>The school currently distributes $25 million in institutional financial aid, 65% of which Lott says went to BIPOC and working class undergraduate and graduate students last year, which includes U.S. citizens, permanent residents and DACA recipients. Diversity scholarships comprise 10% of the school’s endowment at $3 million. \u003c/p>\n\u003cp>But Guinan says what she’s heard from CCA’s Black students in particular is that the diversity scholarship program doesn’t prioritize them and they often don’t see those funds. The scholarships, according to CCA’s website, are offered to “students from educationally disadvantaged families who have demonstrated academic and artistic achievement, students with demonstrated leadership in service to the community, and students whose work focuses on social or cultural issues.”\u003c/p>\n\u003cp>The Working Class & BIPOC Grant Campaign hopes to disburse $1,000 each to those who need help with rent and larger expenses, and $500 grants for assistance with artist supplies and other “hidden fees that really add up,” Guinan explains. CCA estimates the additional costs of attending the school while living in the Bay Area, factoring in fees, housing, transportation, food and supplies, can amount to around $25,000.\u003c/p>\n\u003cfigure id=\"attachment_13883981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13883981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-768x433.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student projects in the Nave at CCA’s San Francisco campus. \u003ccite>(Nicholas Lea Bruno/CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, \u003ca href=\"https://portal.cca.edu/thriving/health-wellness/novel-coronavirus-covid19/fall-2020-semester-will-be-online/\" rel=\"noopener noreferrer\" target=\"_blank\">CCA announced\u003c/a> all of the upcoming fall semester’s courses will be taught completely remotely due to new guidance from the San Francisco Department of Public Health—not, as the school had hoped, in a combination of in-person and remote instruction. Though the school’s Oakland and San Francisco campuses will be completely closed to students until it is deemed safe to reopen—meaning no access to studios, wood shops, computer labs or the library—the school will continue to offer single-occupancy on-campus housing for students who need or want to live at CCA. \u003c/p>\n\u003cp>Unlike SFAI, which recently \u003ca href=\"https://www.kqed.org/arts/13883757/sfai-reinstates-degree-programs-faculty-students\" rel=\"noopener noreferrer\" target=\"_blank\">enticed students to re-enroll\u003c/a> with offers of a 50% tuition cut, CCA’s 2020–21 tuition is frozen at the previous school year’s rate. The only cuts were to a planned 4% increase. \u003c/p>\n\u003ch2>The Speedy Delivery of Grants\u003c/h2>\n\u003cp>Part of the impetus for keeping the Working Class & BIPOC Grant Campaign separate from the school, Guinan says, was a dissatisfaction with the speed at which CCA was able to disperse coronavirus-related relief funds to the student body. CCA received a total of nearly $1.4 million from the CARES Act fund, half of which will be disbursed in emergency financial aid grants of $500–$3,000 to eligible students between the 2019–20 and 2020–21 school years. Lott says their records indicate 745 students may be eligible to apply for these funds; so far 104 requests have been approved. (Dispersal \u003ca href=\"https://www.forbes.com/sites/wesleywhistle/2020/06/11/devos-finalizes-rule-blocking-undocumented-students-from-cares-act-grants/#2928675675a0\" rel=\"noopener noreferrer\" target=\"_blank\">was slowed\u003c/a> by a lack of guidance from the Department of Education.) \u003c/p>\n\u003cp>Additionally, CCA launched their own emergency fund to assist with students’ basic immediate needs in the face of the pandemic. Of the $30,686 raised, only $4,700 has been distributed to 40 students (decisions are made on a case-by-case basis and factor in the students’ financial aid and financial need) in the form of gift cards to grocery stores, general retailers and an art supplies store.\u003c/p>\n\u003cp>In the spirit of mutual aid, the student-led fundraiser will issue its grants without any such limitations, trusting recipients to know what they themselves need. Guinan hopes the success of this campaign will push the school to ultimately change the way it supports its working class and BIPOC students, from the bottom up. \u003c/p>\n\u003cp>“We all are putting our careers at CCA in some sort of jeopardy in some capacity,” she says. “And I just want to acknowledge that our team is working super hard and tackling this in multiple ways. The energy and the momentum is really strong and I just feel grateful to have this opportunity to hopefully effect some structural change at CCA.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "CCA Delays COVID-19 Safety, Remote Work Negotiations in Union Dispute",
"headTitle": "CCA Delays COVID-19 Safety, Remote Work Negotiations in Union Dispute | KQED",
"content": "\u003cp>Six weeks ago, as the novel coronavirus started to wreak havoc on higher education, the labor union representing adjunct professors at California College of the Arts proposed negotiating the terms of online teaching as well as COVID 19-related sick leave and other benefits. [aside postID=arts_13877073,arts_13878509,arts_13855321]\u003c/p>\n\u003cp>Union leadership expected to quickly reach an emergency agreement between faculty and the school administration, especially after the private art and design college approved a nearly identical proposal for union staff in a separate negotiation.\u003c/p>\n\u003cp>But California College of the Arts (CCA) leadership has so far refused to negotiate with the adjunct union, which represents 70 percent of the school’s overall teaching staff, igniting a tense dispute.\u003c/p>\n\u003cp>School leadership has accused the adjunct union of soliciting a work-stoppage by sharing the student union’s request to have representatives address online classes, diverting resources from the negotiations. The adjuncts in turn say the administration is seizing on a public health crisis to divide the faculty union from its members and students in an attack on academic freedom.\u003c/p>\n\u003cp>“It’s an outrageous refusal to bargain over health and safety issues on the grounds that an email represents an illegal work stoppage,” Noga Wizansky, a CCA adjunct and union steward, said in an interview. School leadership’s real aim, according to adjunct union leaders, is to deter teachers and students from sharing information and mounting joint campaigns together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nato Green, an SEIU Local 1021 negotiator, said in a statement that it’s “shocking and bizarre” for the CCA administration “to accuse our members of a ‘work stoppage’ of 5-10 minutes and to claim that they are incapable of dealing with any other pressing labor relations issue because of it.\u003c/p>\n\u003cp>“During the biggest public health and economic crisis in a century, CCA should focus on addressing the urgent challenges facing all of us instead of wasting energy meddling in the free speech rights of students, teachers and staff who are working together to make things better.”\u003c/p>\n\u003cp>Ann Wiens, CCA’s vice president of marketing and communications, said in a statement that she’s unable to comment on topics under discussion with the union. Wiens said the administration hopes the agreement with college staff can serve as a model for a similar agreement with adjunct faculty, and that in the meantime the college is adhering to existing workplace safety guidelines.\u003c/p>\n\u003cp>“Instructors frequently invite guest lecturers or other visitors to participate in their classes in support of learning outcomes, but it is not appropriate to take class time away from the students enrolled in the course for presentations unrelated to the course content,” Wiens said.\u003c/p>\n\u003cp>The conflict comes at a vulnerable time for CCA. The school is leaving its historic Oakland campus to \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">consolidate\u003c/a> in San Francisco, stirring anxieties about a shift from studio arts to design and potential workforce reductions. A related plan to begin scheduling classes on Saturdays, first announced last fall, has also proved controversial among faculty and staff.\u003c/p>\n\u003cp>Like colleges everywhere, CCA now faces discontent with the pivot to online instruction and reductions in other services, plus uncertainty about future enrollment. A petition for a partial \u003ca href=\"https://www.kqed.org/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online\">tuition refund\u003c/a> launched in March and circulated by the student union has garnered more than 1,000 signatures. And on Friday, CCA announced furloughs affecting more than 60 workers.\u003c/p>\n\u003cp>In an April 21 email, adjunct union leadership notified members that the student union, which operates without CCA’s formal recognition, wanted to have representatives briefly visit online classes.\u003c/p>\n\u003cp>The idea, according to recent graduate and student union organizer Yuri Knighten, was to broaden awareness of the student union as an information hub. “It wasn’t a campaign against school leadership at all,” Knighten said.\u003c/p>\n\u003cp>Yet school leadership “responded ferociously,” Wizanksy said. Julianne Kirgis, the associate provost, on April 23 emailed Wizansky and other members of the adjunct union’s Labor Management Committee to demand the letter’s withdrawal. Soliciting teachers to have student union representatives address their classes, Kirgis wrote, violates the adjunct union’s contract.\u003c/p>\n\u003cp>Program chairs then sent an email discouraging adjuncts from hosting student union representatives; only a handful hosted the visits. Still, the adjunct union declined to withdraw the letter, and a May 12 meeting between the Labor Management Committee and school leadership that was intended to resolve the conflict only sharpened differences, according to Wizansky.\u003c/p>\n\u003cp>Meanwhile, the adjuncts’ COVID-19 safety and remote work proposal—a “side letter,” in union terminology, meant to address conditions not anticipated by a contract—remains unaddressed.\u003c/p>\n\u003cp>The April 10 draft, reviewed by KQED, aims to ensure teachers have sufficient training and equipment to provide online instruction, and also to solidify benefits and paid leave eligibility in the event of contracting COVID-19 or caring for a family member sick with the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjunct union’s current contract expires June 30.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six weeks ago, as the novel coronavirus started to wreak havoc on higher education, the labor union representing adjunct professors at California College of the Arts proposed negotiating the terms of online teaching as well as COVID 19-related sick leave and other benefits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Union leadership expected to quickly reach an emergency agreement between faculty and the school administration, especially after the private art and design college approved a nearly identical proposal for union staff in a separate negotiation.\u003c/p>\n\u003cp>But California College of the Arts (CCA) leadership has so far refused to negotiate with the adjunct union, which represents 70 percent of the school’s overall teaching staff, igniting a tense dispute.\u003c/p>\n\u003cp>School leadership has accused the adjunct union of soliciting a work-stoppage by sharing the student union’s request to have representatives address online classes, diverting resources from the negotiations. The adjuncts in turn say the administration is seizing on a public health crisis to divide the faculty union from its members and students in an attack on academic freedom.\u003c/p>\n\u003cp>“It’s an outrageous refusal to bargain over health and safety issues on the grounds that an email represents an illegal work stoppage,” Noga Wizansky, a CCA adjunct and union steward, said in an interview. School leadership’s real aim, according to adjunct union leaders, is to deter teachers and students from sharing information and mounting joint campaigns together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nato Green, an SEIU Local 1021 negotiator, said in a statement that it’s “shocking and bizarre” for the CCA administration “to accuse our members of a ‘work stoppage’ of 5-10 minutes and to claim that they are incapable of dealing with any other pressing labor relations issue because of it.\u003c/p>\n\u003cp>“During the biggest public health and economic crisis in a century, CCA should focus on addressing the urgent challenges facing all of us instead of wasting energy meddling in the free speech rights of students, teachers and staff who are working together to make things better.”\u003c/p>\n\u003cp>Ann Wiens, CCA’s vice president of marketing and communications, said in a statement that she’s unable to comment on topics under discussion with the union. Wiens said the administration hopes the agreement with college staff can serve as a model for a similar agreement with adjunct faculty, and that in the meantime the college is adhering to existing workplace safety guidelines.\u003c/p>\n\u003cp>“Instructors frequently invite guest lecturers or other visitors to participate in their classes in support of learning outcomes, but it is not appropriate to take class time away from the students enrolled in the course for presentations unrelated to the course content,” Wiens said.\u003c/p>\n\u003cp>The conflict comes at a vulnerable time for CCA. The school is leaving its historic Oakland campus to \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">consolidate\u003c/a> in San Francisco, stirring anxieties about a shift from studio arts to design and potential workforce reductions. A related plan to begin scheduling classes on Saturdays, first announced last fall, has also proved controversial among faculty and staff.\u003c/p>\n\u003cp>Like colleges everywhere, CCA now faces discontent with the pivot to online instruction and reductions in other services, plus uncertainty about future enrollment. A petition for a partial \u003ca href=\"https://www.kqed.org/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online\">tuition refund\u003c/a> launched in March and circulated by the student union has garnered more than 1,000 signatures. And on Friday, CCA announced furloughs affecting more than 60 workers.\u003c/p>\n\u003cp>In an April 21 email, adjunct union leadership notified members that the student union, which operates without CCA’s formal recognition, wanted to have representatives briefly visit online classes.\u003c/p>\n\u003cp>The idea, according to recent graduate and student union organizer Yuri Knighten, was to broaden awareness of the student union as an information hub. “It wasn’t a campaign against school leadership at all,” Knighten said.\u003c/p>\n\u003cp>Yet school leadership “responded ferociously,” Wizanksy said. Julianne Kirgis, the associate provost, on April 23 emailed Wizansky and other members of the adjunct union’s Labor Management Committee to demand the letter’s withdrawal. Soliciting teachers to have student union representatives address their classes, Kirgis wrote, violates the adjunct union’s contract.\u003c/p>\n\u003cp>Program chairs then sent an email discouraging adjuncts from hosting student union representatives; only a handful hosted the visits. Still, the adjunct union declined to withdraw the letter, and a May 12 meeting between the Labor Management Committee and school leadership that was intended to resolve the conflict only sharpened differences, according to Wizansky.\u003c/p>\n\u003cp>Meanwhile, the adjuncts’ COVID-19 safety and remote work proposal—a “side letter,” in union terminology, meant to address conditions not anticipated by a contract—remains unaddressed.\u003c/p>\n\u003cp>The April 10 draft, reviewed by KQED, aims to ensure teachers have sufficient training and equipment to provide online instruction, and also to solidify benefits and paid leave eligibility in the event of contracting COVID-19 or caring for a family member sick with the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjunct union’s current contract expires June 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated Thursday, 4:45 p.m.\u003c/em>\u003c/p>\n\u003cp>California College of the Arts, like most Bay Area higher-education institutions, is shifting to online classes amid shelter-in-place orders to stem transmission of the novel coronavirus, and some students want their money back. [aside postID=arts_13855321]\u003c/p>\n\u003cp>California College of the Arts (CCA), along with Academy of Art University and the San Francisco Art Institute, this past week shuttered most administrative and instructional facilities, including specialized studios related to disciplines such as ceramics, welding and textiles. More than half of its residential students have left campus; largely international students stymied by travel restrictions are staying onsite, according to the college.\u003c/p>\n\u003cp>As class moves online for the rest of the semester, with studios and other resources expected to remain closed, students at CCA and other schools are questioning what they get for their tuition.\u003c/p>\n\u003cp>Echoing a similar call by University of California students, an online \u003ca href=\"https://www.change.org/p/cca-administration-give-cca-students-a-tuition-refund\">petition\u003c/a> launched Monday by CCA animation student Kym Gray for a “partial tuition refund” has garnered more than 600 signatures. Gray, 23, a junior, told KQED the campus shutdowns affect, say, printmaking and sculpture students as much as digitally-focused students without access to costly software and compatible computers. Many students, Gray said, are incurring additional expenses to continue schoolwork remotely, and some consider online instruction a diminished form of learning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gray said she’s fortunate to have scholarships and grants, and was more motivated to launch the petition by her concern for peers paying tuition out of pocket. Still, Gray depends on onsite access to digital tools she doesn’t have at home in Oakland, and knows people in fields such as ceramics and glass-blowing who’ve been forced to effectively halt important projects. “I know if I was a 3D animation student my software licenses would cost like $1,000 right now,” Gray said. “That’s part of your tuition.” She added, “I do love CCA—we just want every dollar’s worth.”\u003c/p>\n\u003cp>“We’re aware of the petition, and of similar petitions,” Brian Maxey, a CCA spokesperson, said in a statement Wednesday. “Our primary focus is on the safety and well-being of our community, followed by ensuring our students are able to continue their learning in ways that, while different than what any of us expected, still fulfill the requirements and authentic learning outcomes for them to receive credit for their classes and continue progress toward their degrees.”\u003c/p>\n\u003cp>On Thursday, after this article was published, CCA president Stephen Beal and provost Tammy Rae Carland released a statement saying students who move out of the residence halls for the rest of the semester will receive a credit for their housing costs prorated to Tuesday, March 17.\u003c/p>\n\u003cp>CCA is also soliciting donations to a \u003ca href=\"https://www.givecampus.com/campaigns/8206/donations/new\">student emergency fund\u003c/a>, saying in an announcement Thursday that many students have lost off-campus part-time jobs. The fund, administered through the CCA Cares Program, is intended to address food insecurity, household needs and health and wellness support, the college announced.\u003c/p>\n\u003cp>“Students are 100-percent justified in demanding to get money back for education they’re not able to receive,” David Skolnick, an assistant professor in the writing and literature department at CCA, said in an interview. “At the same time, if everyone got their tuition back it’d mean the school goes bankrupt and we all lose our jobs. … In this situation, everyone’s losing right now.”\u003c/p>\n\u003cp>California College of the Arts, founded in the East Bay in 1907, currently enrolls some 1,850 undergraduate and graduate students of art, architecture and design. It also operates the Wattis Institute for the Contemporary Arts. Currently the college spans two campuses in Oakland and San Francisco, but is in the process of consolidating, or “unifying,” in administration parlance, around its housing and instructional facilities at the foot of Potrero Hill.\u003c/p>\n\u003cp>Underlying the petition is long-mounting frustration with the growing cost of higher education, especially at private colleges in expensive regions such as CCA, where first-year undergraduate tuition and fees run $76,671. There’s also the debt burden that students bring to an uncertain job market. “This is an expensive college, and even in a normal year students don’t necessarily feel like they’re getting their money’s worth,” said Yuri Knighten, 25, a recent illustration graduate who’s still active with CCA’s independent student union and has helped circulate Gray’s petition.\u003c/p>\n\u003cp>Knighten cautioned, however, that CCA students should balance their call for refunds with concern for the financial stability of college faculty and staff, who have \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">unionized\u003c/a> in recent years over concerns with a rising cost of living and the ongoing campus consolidation in San Francisco. For now, according to Maxey and union members, staff who cannot from home and whose presence isn’t necessary on campus will continue to receive compensation. “Having been involved with the staff and adjunction union fights, I’m thinking of how to be in solidarity,” Knighten said.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.change.org/p/howard-gillman-refund-student-housing-for-spring-quarter-at-uc-irvine\">petition\u003c/a> launched last week by Rosie Oganesian, a freshman at University of California Irvine, similarly calls for housing and meal plan refunds and tuition reductions. It has since been amended to include public colleges statewide, and has more than 7,000 signatures. UC leadership has ruled out tuition refunds, saying grades from online classes count towards the same diploma, while leaving decisions about some fees to individual college administrations.\u003c/p>\n\u003cp>UC faculty are also voicing concern about the digital pivot. “Most of us were not trained or hired to teach online courses, and online courses are not what the students enrolled and paid for,” reads an \u003ca href=\"https://docs.google.com/forms/d/16INzCI5ZR3ir0_E_Gby6WU2YYjq1JEtKGwijs5Lb66E/viewform?fbclid=IwAR1O7l09ukqoUlkhmwDp64W6Ru4YrBTNtUtc640JztFztgf61_88M3EtnJs&edit_requested=true\">open letter\u003c/a>, published Monday, with signatures from UC educators and supporters. (The letter firstly criticizes the recent firing of striking graduate students.) “The mandate is clearly to engage in ersatz education for the sake of sustaining a fiction of continuity.”\u003c/p>\n\u003cp>Class meetings are paused this week to allow faculty time to develop alternative coursework and learn new tools for remote teaching. “Zoom meetings to learn to use Zoom,” as Skolnick, the writing professor, put it. “No one believes this is a comparable learning experience,” he continued, noting the campus shutdown will most acutely affect students with a studio-based practice. “Still we now have to focus on the most basic learning outcomes, like a coherent four-page academic essay. … Other things, like oral presentation, will fall by the wayside.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re an art school, so this isn’t an easy change to make,” said Maxey, the CCA spokesperson. “But that also means our faculty are incredibly creative.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Thursday, 4:45 p.m.\u003c/em>\u003c/p>\n\u003cp>California College of the Arts, like most Bay Area higher-education institutions, is shifting to online classes amid shelter-in-place orders to stem transmission of the novel coronavirus, and some students want their money back. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>California College of the Arts (CCA), along with Academy of Art University and the San Francisco Art Institute, this past week shuttered most administrative and instructional facilities, including specialized studios related to disciplines such as ceramics, welding and textiles. More than half of its residential students have left campus; largely international students stymied by travel restrictions are staying onsite, according to the college.\u003c/p>\n\u003cp>As class moves online for the rest of the semester, with studios and other resources expected to remain closed, students at CCA and other schools are questioning what they get for their tuition.\u003c/p>\n\u003cp>Echoing a similar call by University of California students, an online \u003ca href=\"https://www.change.org/p/cca-administration-give-cca-students-a-tuition-refund\">petition\u003c/a> launched Monday by CCA animation student Kym Gray for a “partial tuition refund” has garnered more than 600 signatures. Gray, 23, a junior, told KQED the campus shutdowns affect, say, printmaking and sculpture students as much as digitally-focused students without access to costly software and compatible computers. Many students, Gray said, are incurring additional expenses to continue schoolwork remotely, and some consider online instruction a diminished form of learning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gray said she’s fortunate to have scholarships and grants, and was more motivated to launch the petition by her concern for peers paying tuition out of pocket. Still, Gray depends on onsite access to digital tools she doesn’t have at home in Oakland, and knows people in fields such as ceramics and glass-blowing who’ve been forced to effectively halt important projects. “I know if I was a 3D animation student my software licenses would cost like $1,000 right now,” Gray said. “That’s part of your tuition.” She added, “I do love CCA—we just want every dollar’s worth.”\u003c/p>\n\u003cp>“We’re aware of the petition, and of similar petitions,” Brian Maxey, a CCA spokesperson, said in a statement Wednesday. “Our primary focus is on the safety and well-being of our community, followed by ensuring our students are able to continue their learning in ways that, while different than what any of us expected, still fulfill the requirements and authentic learning outcomes for them to receive credit for their classes and continue progress toward their degrees.”\u003c/p>\n\u003cp>On Thursday, after this article was published, CCA president Stephen Beal and provost Tammy Rae Carland released a statement saying students who move out of the residence halls for the rest of the semester will receive a credit for their housing costs prorated to Tuesday, March 17.\u003c/p>\n\u003cp>CCA is also soliciting donations to a \u003ca href=\"https://www.givecampus.com/campaigns/8206/donations/new\">student emergency fund\u003c/a>, saying in an announcement Thursday that many students have lost off-campus part-time jobs. The fund, administered through the CCA Cares Program, is intended to address food insecurity, household needs and health and wellness support, the college announced.\u003c/p>\n\u003cp>“Students are 100-percent justified in demanding to get money back for education they’re not able to receive,” David Skolnick, an assistant professor in the writing and literature department at CCA, said in an interview. “At the same time, if everyone got their tuition back it’d mean the school goes bankrupt and we all lose our jobs. … In this situation, everyone’s losing right now.”\u003c/p>\n\u003cp>California College of the Arts, founded in the East Bay in 1907, currently enrolls some 1,850 undergraduate and graduate students of art, architecture and design. It also operates the Wattis Institute for the Contemporary Arts. Currently the college spans two campuses in Oakland and San Francisco, but is in the process of consolidating, or “unifying,” in administration parlance, around its housing and instructional facilities at the foot of Potrero Hill.\u003c/p>\n\u003cp>Underlying the petition is long-mounting frustration with the growing cost of higher education, especially at private colleges in expensive regions such as CCA, where first-year undergraduate tuition and fees run $76,671. There’s also the debt burden that students bring to an uncertain job market. “This is an expensive college, and even in a normal year students don’t necessarily feel like they’re getting their money’s worth,” said Yuri Knighten, 25, a recent illustration graduate who’s still active with CCA’s independent student union and has helped circulate Gray’s petition.\u003c/p>\n\u003cp>Knighten cautioned, however, that CCA students should balance their call for refunds with concern for the financial stability of college faculty and staff, who have \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">unionized\u003c/a> in recent years over concerns with a rising cost of living and the ongoing campus consolidation in San Francisco. For now, according to Maxey and union members, staff who cannot from home and whose presence isn’t necessary on campus will continue to receive compensation. “Having been involved with the staff and adjunction union fights, I’m thinking of how to be in solidarity,” Knighten said.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.change.org/p/howard-gillman-refund-student-housing-for-spring-quarter-at-uc-irvine\">petition\u003c/a> launched last week by Rosie Oganesian, a freshman at University of California Irvine, similarly calls for housing and meal plan refunds and tuition reductions. It has since been amended to include public colleges statewide, and has more than 7,000 signatures. UC leadership has ruled out tuition refunds, saying grades from online classes count towards the same diploma, while leaving decisions about some fees to individual college administrations.\u003c/p>\n\u003cp>UC faculty are also voicing concern about the digital pivot. “Most of us were not trained or hired to teach online courses, and online courses are not what the students enrolled and paid for,” reads an \u003ca href=\"https://docs.google.com/forms/d/16INzCI5ZR3ir0_E_Gby6WU2YYjq1JEtKGwijs5Lb66E/viewform?fbclid=IwAR1O7l09ukqoUlkhmwDp64W6Ru4YrBTNtUtc640JztFztgf61_88M3EtnJs&edit_requested=true\">open letter\u003c/a>, published Monday, with signatures from UC educators and supporters. (The letter firstly criticizes the recent firing of striking graduate students.) “The mandate is clearly to engage in ersatz education for the sake of sustaining a fiction of continuity.”\u003c/p>\n\u003cp>Class meetings are paused this week to allow faculty time to develop alternative coursework and learn new tools for remote teaching. “Zoom meetings to learn to use Zoom,” as Skolnick, the writing professor, put it. “No one believes this is a comparable learning experience,” he continued, noting the campus shutdown will most acutely affect students with a studio-based practice. “Still we now have to focus on the most basic learning outcomes, like a coherent four-page academic essay. … Other things, like oral presentation, will fall by the wayside.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re an art school, so this isn’t an easy change to make,” said Maxey, the CCA spokesperson. “But that also means our faculty are incredibly creative.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Staff at Mills College are following in the footsteps of the Oakland liberal arts institution’s adjunct faculty members by unionizing as part of a broader organized labor trend in Bay Area higher education. [aside postID=arts_13855321,arts_12248119,arts_13389908] \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Staff at California College of the Arts staff voted Monday to elect Service Employees International Union’s representation in collective bargaining, joining the art school’s adjunct faculty as members of Local 1021. \u003c/p>\n\u003cp>“YES to end chronic understaffing and high staff turnover,” read an Instagram post from \u003ca href=\"https://www.instagram.com/sfoakunite/\">@sfoakunite\u003c/a>, an account run by the staff’s organizing committee. “YES to supporting students!” [aside postID='arts_13855321' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CCA-union-3.jpg']\u003c/p>\n\u003cp>After months organizing, staff voted 80 in favor and 15 against the union, with 28 contested ballots cast by employees whose eligibility for representation the administration challenged. (Contested ballots are only counted to break ties.) According to the organizing committee, 164 staffers are eligible for representation. \u003c/p>\n\u003cp>“CCA will be better when the faces that represent it are valued and embraced,” said Brian Woods, a six-year employee and member of the organizing committee. “All of the long-term workers are why I work at CCA, and they deserve security in their jobs and a fair shake in the midst of these massive changes.” \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">reported Thursday\u003c/a>, California College of the Arts’ plan to consolidate campuses in San Francisco largely motivated the union effort, with staff worried about its effect on job security. Organizers believe unionizing will provide leverage with school administration as the workplace transforms. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Echoing broader concerns in the arts and higher-education sectors, staff believe representation will help win raises as cost-of-living, namely housing and commuting costs, outpaces wage growth in the Bay Area. Organizers also stressed that unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>“We are grateful that a large percentage of the voters exercised their democratic rights, which is the outcome that was of primary importance to the college,” CCA said in a statement. “We look forward to continuing to work closely with staff to make CCA an excellent learning environment for our students and the community.”\u003c/p>\n\u003cp>The administration has claimed neutrality towards the staff unionizing, but distributed a document casting doubts on its benefits. Organizers said leadership sowed confusion about union eligibility in an attempt to undermine the effort. \u003c/p>\n\u003cp>After nearly three years organizing, SEIU helped adjunct faculty ratify their first union contract in 2017. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Founded in Berkeley in 1907, California College of the Arts enrolls some 2,000 undergraduate and graduate students of art, architecture and design and operates the Wattis Institute for Contemporary Arts. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After months organizing, staff voted 80 in favor and 15 against the union, with 28 contested ballots cast by employees whose eligibility for representation the administration challenged. (Contested ballots are only counted to break ties.) According to the organizing committee, 164 staffers are eligible for representation. \u003c/p>\n\u003cp>“CCA will be better when the faces that represent it are valued and embraced,” said Brian Woods, a six-year employee and member of the organizing committee. “All of the long-term workers are why I work at CCA, and they deserve security in their jobs and a fair shake in the midst of these massive changes.” \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">reported Thursday\u003c/a>, California College of the Arts’ plan to consolidate campuses in San Francisco largely motivated the union effort, with staff worried about its effect on job security. Organizers believe unionizing will provide leverage with school administration as the workplace transforms. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>California College of the Arts staff will vote Monday in a union election, continuing a labor organizing trend in the arts and higher education sectors as the cost of living outpaces wage growth in the Bay Area. \u003c/p>\n\u003cp>At \u003ca href=\"https://www.cca.edu/\">CCA\u003c/a>, where faculty ratified their first union contract in 2017, staff including workers in the libraries and facilities divisions have been openly organizing with Service Employees International Union (SEIU) Local 1021 since November. A total of 164 staffers are eligible for representation, according to the union organizers. \u003c/p>\n\u003cp>The storied private college, founded in the East Bay in 1907 and boasting alumni such as Robert Arneson and Susan O’Malley, enrolls some 2,000 students of art, architecture and design. It also operates the Wattis Institute for Contemporary Arts. Currently, it spans two campuses in Oakland and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13855305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg\" alt=\"Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the entire school will eventually be consolidated in San Francisco, where its campus at the foot of Potrero Hill is being rebuilt. Organizing committee members told KQED that anxieties about the consolidation, now far behind the initially projected 2021 completion date, are a driving force behind staff’s unionizing effort. \u003c/p>\n\u003cp>With one campus, staff members wonder, will the school need half the janitors? Half the library staff? With staff feeling CCA administration hasn’t satisfactorily answered such questions, organizers believe unionizing will provide job security, higher wages and leverage with school leadership as the workplace dramatically transforms. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the campus is being “unified,” to use the administration’s term for consolidating in San Francisco, organizers believe they’re doing the same for the staff. They’re also stressing how, at a time of focus on recruiting and retaining students, unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>Paul Navarette, who’s worked in the library for five years, added that they’re concerned about the effect of consolidation on student services. “If half the library is in storage, that’s a decrease in services,” he said. \u003c/p>\n\u003cp>In a region that consistently ranks among the country’s most expensive, wages are a key issue. Since CCA workers mostly live in the East Bay, campus consolidation will increase commuting time and cost. “I’ve lived in [the East Bay] for 13 years and my rent has tripled, but my salary hasn’t,” said Amber Bales, a CCA library technician for seven years. Bales noted CCA is her first non-union job in higher education. \u003c/p>\n\u003cfigure id=\"attachment_13855307\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg\" alt=\"California College of the Arts is overhauling its San Francisco campus.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13855307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts is overhauling its San Francisco campus. Above is a rendering of the proposed campus. \u003ccite>(Courtesy Studio Gang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The administration claims neutrality towards union representation, but organizers said school leadership has sown confusion about eligibility to undermine the effort. They also said the administration has attempted to exclude SEIU representatives, but include school attorneys, from meetings with organizers. \u003c/p>\n\u003cp>Earlier this month, organizers sent a \u003ca href=\"https://www.instagram.com/p/BwBStFshtAj/\">letter\u003c/a> to college president Stephen Beal asking the administration to “respect every employee’s right to make the decision to form a union, free from coercion or threats.” \u003c/p>\n\u003cp>Asked for comment, CCA spokespeople pointed to a document distributed by the administration Friday. \u003c/p>\n\u003cp>“The CCA administration is not advocating for or against union representation for staff,” it reads. “The administration encourages all staff members to educate themselves on this important issue, as well as to understand what benefits the College currently provides, and to vote their conscience on April 22.” \u003c/p>\n\u003cp>Other parts of the document, however, cast unionizing as a loss: Managers would no longer advocate for raises without union consent, and staff would “most likely not be permitted” to join an advisory committee to human resources. Collective bargaining, it claims, would “generally operate” as CCA does presently. \u003c/p>\n\u003cfigure id=\"attachment_13855301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg\" alt=\"Amber Bales noted California College of the Arts is her first non-union job in higher education.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Bales noted California College of the Arts is her first non-union job in higher education. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers called these assertions disingenuous, adding they’re confident in the election’s positive outcome. \u003c/p>\n\u003cp>Staff were inspired to unionize in part by the contract SEIU Local 1021 helped adjuncts secure in 2017, after nearly three years of organizing. The “Job Security for the 78 Percent” campaign called attention to the untenured proportion of CCA teachers. Now some 500 adjuncts are eligible for union membership. \u003c/p>\n\u003cp>The contract provides adjuncts with a 17 percent raise over three years, one- and two-year teaching appointments and eligibility for health benefits after three years of teaching three or more courses. \u003c/p>\n\u003cp>Local 1021 has 54,000 members, including faculty at San Francisco Art Institute, Dominican University of California, Holy Names University, St. Mary’s College and Mills College. Staff at SFAI and San Francisco Museum of Modern Art, which \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">fought\u003c/a> for cost-of-living raises during contract negotiations last year, are represented by the Office and Professional Employees International Union (OPEIU).\u003c/p>\n\u003cfigure id=\"attachment_13855306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg\" alt=\"Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation's effect on student services.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation’s effect on student services. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SEIU, known for representing government employees, has been organizing higher-education workers nationally as part of its “Faculty Forward” campaign. The union argues government disinvestment in higher education has “turned college into big business,” resulting in insecurity and wage stagnation. \u003c/p>\n\u003cp>Matt Kennedy, a print services manager and seven-year CCA employee, said cultural institutions’ messaging around equity and inclusion is also stoking workers’ labor consciousness. “Especially in higher education, where there’s so much values rhetoric, people are motivated by seeing hypocrisy,” he said.\u003c/p>\n\u003cp>The organizing committee’s \u003ca href=\"https://www.instagram.com/sfoakunite/\">Instagram account\u003c/a> has posted messages supporting recent labor struggles at Santa Clara University and the New Museum. The committee has also held informational events in partnership with CCA groups such as the Students of Color Coalition, while SEIU representatives this week distributed literature on the Oakland and San Francisco campuses. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the center of CCA’s plan to overhaul its San Francisco campus is more housing for students, plus new and renovated academic buildings designed by architecture firm Studio Gang. CCA has partnered with Emerald Fund and Equity Community Builders to redevelop its 4-acre Oakland property as a mix of mostly market-rate housing plus office and workspace aimed at artists and arts-related nonprofits. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California College of the Arts staff will vote Monday in a union election, continuing a labor organizing trend in the arts and higher education sectors as the cost of living outpaces wage growth in the Bay Area. \u003c/p>\n\u003cp>At \u003ca href=\"https://www.cca.edu/\">CCA\u003c/a>, where faculty ratified their first union contract in 2017, staff including workers in the libraries and facilities divisions have been openly organizing with Service Employees International Union (SEIU) Local 1021 since November. A total of 164 staffers are eligible for representation, according to the union organizers. \u003c/p>\n\u003cp>The storied private college, founded in the East Bay in 1907 and boasting alumni such as Robert Arneson and Susan O’Malley, enrolls some 2,000 students of art, architecture and design. It also operates the Wattis Institute for Contemporary Arts. Currently, it spans two campuses in Oakland and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13855305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg\" alt=\"Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Donald-Smith-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald Smith, a 20-year California College of the Arts libraries employee, supports the staff union. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the entire school will eventually be consolidated in San Francisco, where its campus at the foot of Potrero Hill is being rebuilt. Organizing committee members told KQED that anxieties about the consolidation, now far behind the initially projected 2021 completion date, are a driving force behind staff’s unionizing effort. \u003c/p>\n\u003cp>With one campus, staff members wonder, will the school need half the janitors? Half the library staff? With staff feeling CCA administration hasn’t satisfactorily answered such questions, organizers believe unionizing will provide job security, higher wages and leverage with school leadership as the workplace dramatically transforms. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the campus is being “unified,” to use the administration’s term for consolidating in San Francisco, organizers believe they’re doing the same for the staff. They’re also stressing how, at a time of focus on recruiting and retaining students, unionizing benefits students through stabilizing the workforce. \u003c/p>\n\u003cp>Paul Navarette, who’s worked in the library for five years, added that they’re concerned about the effect of consolidation on student services. “If half the library is in storage, that’s a decrease in services,” he said. \u003c/p>\n\u003cp>In a region that consistently ranks among the country’s most expensive, wages are a key issue. Since CCA workers mostly live in the East Bay, campus consolidation will increase commuting time and cost. “I’ve lived in [the East Bay] for 13 years and my rent has tripled, but my salary hasn’t,” said Amber Bales, a CCA library technician for seven years. Bales noted CCA is her first non-union job in higher education. \u003c/p>\n\u003cfigure id=\"attachment_13855307\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg\" alt=\"California College of the Arts is overhauling its San Francisco campus.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13855307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Studio-Gang-Rendering-of-Outdoor-Space-in-New-San-Francisco-CCA-Campus-Courtesy-Studio-Gang-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts is overhauling its San Francisco campus. Above is a rendering of the proposed campus. \u003ccite>(Courtesy Studio Gang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The administration claims neutrality towards union representation, but organizers said school leadership has sown confusion about eligibility to undermine the effort. They also said the administration has attempted to exclude SEIU representatives, but include school attorneys, from meetings with organizers. \u003c/p>\n\u003cp>Earlier this month, organizers sent a \u003ca href=\"https://www.instagram.com/p/BwBStFshtAj/\">letter\u003c/a> to college president Stephen Beal asking the administration to “respect every employee’s right to make the decision to form a union, free from coercion or threats.” \u003c/p>\n\u003cp>Asked for comment, CCA spokespeople pointed to a document distributed by the administration Friday. \u003c/p>\n\u003cp>“The CCA administration is not advocating for or against union representation for staff,” it reads. “The administration encourages all staff members to educate themselves on this important issue, as well as to understand what benefits the College currently provides, and to vote their conscience on April 22.” \u003c/p>\n\u003cp>Other parts of the document, however, cast unionizing as a loss: Managers would no longer advocate for raises without union consent, and staff would “most likely not be permitted” to join an advisory committee to human resources. Collective bargaining, it claims, would “generally operate” as CCA does presently. \u003c/p>\n\u003cfigure id=\"attachment_13855301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg\" alt=\"Amber Bales noted California College of the Arts is her first non-union job in higher education.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13855301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Amber-Bales-CCA-union-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Bales noted California College of the Arts is her first non-union job in higher education. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers called these assertions disingenuous, adding they’re confident in the election’s positive outcome. \u003c/p>\n\u003cp>Staff were inspired to unionize in part by the contract SEIU Local 1021 helped adjuncts secure in 2017, after nearly three years of organizing. The “Job Security for the 78 Percent” campaign called attention to the untenured proportion of CCA teachers. Now some 500 adjuncts are eligible for union membership. \u003c/p>\n\u003cp>The contract provides adjuncts with a 17 percent raise over three years, one- and two-year teaching appointments and eligibility for health benefits after three years of teaching three or more courses. \u003c/p>\n\u003cp>Local 1021 has 54,000 members, including faculty at San Francisco Art Institute, Dominican University of California, Holy Names University, St. Mary’s College and Mills College. Staff at SFAI and San Francisco Museum of Modern Art, which \u003ca href=\"https://www.kqed.org/arts/13838611/sfmoma-union-talks-drag-over-cost-of-living-raise-proposal\">fought\u003c/a> for cost-of-living raises during contract negotiations last year, are represented by the Office and Professional Employees International Union (OPEIU).\u003c/p>\n\u003cfigure id=\"attachment_13855306\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg\" alt=\"Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation's effect on student services.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13855306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Paul-Navarette-CCA-union-2-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul Navarette, a five-year California College of the Arts libraries employee, is concerned about campus consolidation’s effect on student services. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SEIU, known for representing government employees, has been organizing higher-education workers nationally as part of its “Faculty Forward” campaign. The union argues government disinvestment in higher education has “turned college into big business,” resulting in insecurity and wage stagnation. \u003c/p>\n\u003cp>Matt Kennedy, a print services manager and seven-year CCA employee, said cultural institutions’ messaging around equity and inclusion is also stoking workers’ labor consciousness. “Especially in higher education, where there’s so much values rhetoric, people are motivated by seeing hypocrisy,” he said.\u003c/p>\n\u003cp>The organizing committee’s \u003ca href=\"https://www.instagram.com/sfoakunite/\">Instagram account\u003c/a> has posted messages supporting recent labor struggles at Santa Clara University and the New Museum. The committee has also held informational events in partnership with CCA groups such as the Students of Color Coalition, while SEIU representatives this week distributed literature on the Oakland and San Francisco campuses. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the center of CCA’s plan to overhaul its San Francisco campus is more housing for students, plus new and renovated academic buildings designed by architecture firm Studio Gang. CCA has partnered with Emerald Fund and Equity Community Builders to redevelop its 4-acre Oakland property as a mix of mostly market-rate housing plus office and workspace aimed at artists and arts-related nonprofits. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The median age in Vietnam is 30.9 years. The great majority of the population was born after the war, and has its eye fixed firmly on the future, yet the past is difficult to evade. With vivid immediacy and palpable empathy, Dinh Q. Lê explores various paths and responses in the aftermath of war through the video and photography installations on view in his solo exhibition \u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" rel=\"noopener\" target=\"_blank\">\u003ci>True Journey is Return\u003c/i>\u003c/a>, at the San Jose Museum of Art through April 14.\u003c/p>\n\u003cp>[aside postID='arts_13841461,arts_13850950' label='Related Coverage']\u003c/p>\n\u003cp>Lê will be at California College of the Arts in San Francisco this Wednesday, March 20 to show and discuss his 2012 film, \u003cem>Light and Belief: Voices and Sketches of Life from the Vietnam War\u003c/em>, which introduces the viewer to a battalion of North Vietnamese artists who joined the cause via their chosen medium. An investigation of idealism, memory and creativity, \u003cem>Light and Belief\u003c/em> leads off \u003ca href=\"https://sjmusart.org/event/stories-farther-shore-southeast-asian-film\" rel=\"noopener\" target=\"_blank\">Stories from the Farther Shore: Southeast Asian Film\u003c/a> (March 20–24), a series assembled by SJMA associate curator Rory Padeken that also includes stops in Laos, Thailand, Cambodia and Indonesia.\u003c/p>\n\u003cp>Unspooling at SJMA, the Asian Art Museum of San Francisco and other venues, “Stories” includes \u003cem>The Tailor\u003c/em> (March 22 at Tully Library), an emotional drama immersed in the áo dài (long dress) fashions of the 1960s and Vietnam’s official submission to this year’s Oscar competition for Best Foreign Language Film. The irresistible 2007 Saigon street-children drama \u003cem>The Owl and the Sparrow\u003c/em> (March 21 at SJMA) plucks heartstrings in a different chord.\u003c/p>\n\u003cfigure id=\"attachment_13853179\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg\" alt=\"Still from 'Malila: The Farewell Flower,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Malila: The Farewell Flower,’ 2017. \u003ccite>(Courtesy of Reel Suspects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “Farther Shore,” per Padeken’s piercing survey, encompasses transgender transformation in Vietnam (the intimate 2015 documentary \u003cem>Finding Phong\u003c/em>, March 22 at SJMA) and profound gay love in Thailand (\u003cem>Malila: The Farewell Flower\u003c/em>, March 23). The thread that binds the series is a heart-on-its-sleeve endorsement of individuality, identification and self-assertion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lê will be at California College of the Arts in San Francisco this Wednesday, March 20 to show and discuss his 2012 film, \u003cem>Light and Belief: Voices and Sketches of Life from the Vietnam War\u003c/em>, which introduces the viewer to a battalion of North Vietnamese artists who joined the cause via their chosen medium. An investigation of idealism, memory and creativity, \u003cem>Light and Belief\u003c/em> leads off \u003ca href=\"https://sjmusart.org/event/stories-farther-shore-southeast-asian-film\" rel=\"noopener\" target=\"_blank\">Stories from the Farther Shore: Southeast Asian Film\u003c/a> (March 20–24), a series assembled by SJMA associate curator Rory Padeken that also includes stops in Laos, Thailand, Cambodia and Indonesia.\u003c/p>\n\u003cp>Unspooling at SJMA, the Asian Art Museum of San Francisco and other venues, “Stories” includes \u003cem>The Tailor\u003c/em> (March 22 at Tully Library), an emotional drama immersed in the áo dài (long dress) fashions of the 1960s and Vietnam’s official submission to this year’s Oscar competition for Best Foreign Language Film. The irresistible 2007 Saigon street-children drama \u003cem>The Owl and the Sparrow\u003c/em> (March 21 at SJMA) plucks heartstrings in a different chord.\u003c/p>\n\u003cfigure id=\"attachment_13853179\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg\" alt=\"Still from 'Malila: The Farewell Flower,' 2017.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/malila-the-farewell-flower-2017_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Malila: The Farewell Flower,’ 2017. \u003ccite>(Courtesy of Reel Suspects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “Farther Shore,” per Padeken’s piercing survey, encompasses transgender transformation in Vietnam (the intimate 2015 documentary \u003cem>Finding Phong\u003c/em>, March 22 at SJMA) and profound gay love in Thailand (\u003cem>Malila: The Farewell Flower\u003c/em>, March 23). The thread that binds the series is a heart-on-its-sleeve endorsement of individuality, identification and self-assertion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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\">A\u003c/span>bout a week ago, I found myself standing next to \u003ca href=\"https://www.hankwillisthomas.com/\">Hank Willis Thomas\u003c/a>, the world-renowned conceptual artist who built a career by creating pieces that critique aspects of race, pop culture and politics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I first heard about Thomas through his series of images that place aspects of slavery—chains, nooses and cotton—next to different athletes in action, a cold depiction of the similarities between the two institutions. I’d also seen Thomas’ image of \u003ca href=\"http://www.in-terms-of.com/personal-branding-with-hank-willis-thomas/\" target=\"_blank\" rel=\"noopener\">a Nike swoosh logo branded upon a bald African-American person’s head\u003c/a>, binding the company to a socio-political statement much different than the one Nike projected with Colin Kaepernick earlier this year.\u003c/p>\n\u003cp>And just about two years ago, Thomas co-founded (along with artist \u003ca href=\"https://www.ericgottesman.net/\">Eric Gottesman\u003c/a>) a hub for artists like him; a platform for “creative civic engagement, discourse, and direct action” called \u003ca href=\"https://forfreedoms.org/\">For Freedoms\u003c/a>. Currently, the group is leading actions, conversations and exhibitions \u003ca href=\"https://forfreedoms.org/explore/\">all across the United States\u003c/a>, including at California College of the Arts’ Hubbell Street Art Gallery in San Francisco, where Thomas and I stood side-by-side last week.\u003c/p>\n\u003cp>We both wore headphones, plugged into a small screen mounted on a wall. On the monitor, Beverly Henry, an African-American woman who spent 40 years in California prisons, sat holding a full-sized American flag.\u003c/p>\n\u003cfigure id=\"attachment_13844061\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13844061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TakeAction030-800x1200.jpg\" alt=\"Beverly Henry in 'Pledge,' a work of video art by Sharon Daniel.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030.jpg 869w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Henry in ‘Pledge,’ a work of video art by Sharon Daniel. \u003ccite>(Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry told us that during her time in prison, she earned 65 cents per hour sewing flags. As she talked, she used a seam ripper to unstitch the flag, at times using her bare hands to disassemble the materials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It would be nice,” she said while pulling the flag apart, “if undoing the injustices was as easy as this.”\u003c/p>\n\u003cp>Thomas took off the headphones and exhaled. “That’s deep,” he said solemnly, before continuing his walk around the gallery.\u003c/p>\n\u003cp>The video, \u003cem>Pledge,\u003c/em> is a part of Sharon Daniel’s \u003ca href=\"http://www.sharondaniel.net/#pledge\">\u003cem>Undoing Time\u003c/em>\u003c/a> installation, which takes an artistic approach to exposing injustices in the American penal system.\u003c/p>\n\u003cp>Daniel’s installation also includes an actual American flag draped from the ceiling, inscribed with quotes taken from constitutional amendments, and overlapped with testimonies of people whose rights have been violated. There’s also a series of red caps in the style of Donald Trump’s “Make America Great Again” hats, but these ones are embroidered with statistics instead of slogans.\u003c/p>\n\u003cp>“It really comes down to these two hats that Sharon produced,” Jaime Austin, the gallery’s director of exhibitions & public programs, told me. “These all have different statistics about felon disenfranchisement. This one says 418,224 black former prisoners couldn’t vote in Florida in 2016,” Austin said, pointing from one hat to the other, “and Trump’s margin of victory was only 112,911 votes. That’s why this matters, because this is a form of voter suppression.”\u003c/p>\n\u003cfigure id=\"attachment_13844058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TakeAction024-800x533.jpg\" alt=\"'Undoing Time,' by Sharon Daniel.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of ‘Undoing Time,’ by Sharon Daniel. \u003ccite>(Josef Jacques)\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\">D\u003c/span>aniel is just one of a number of artists whose work is part of \u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" target=\"_blank\" rel=\"noopener\">CCA’s \u003cem>Take Action\u003c/em> exhibition\u003c/a>, running through Nov. 16. The pieces range from the somber to the humorous: the Center for Tactical Magic’s \u003ca href=\"http://tacticalmagic.org/project%20pages/Universal_Keys.htm\">\u003cem>Universal Keys\u003c/em>\u003c/a>—a wall sculpture of real handcuff keys—shares the space with 100 Days Action’s \u003ca href=\"http://100daysaction.net\">People’s Oval Office\u003c/a>, a mock oval office made of cardboard in which people are encouraged to draw up their own executive orders. The orders are then posted on a wall not too far the desk; the one that spoke to my heart simply read, “More Unicorns.”\u003c/p>\n\u003cp>Along with being able to demand more fictional animals, attendees are invited to fully participate in the art. There’s space for people to pick up cards that suggest doing political actions outside of the gallery, from simple acts, like saying hi to their neighbors, to more rigorous ones, like defending DREAMers from deportation.\u003c/p>\n\u003cp>Meanwhile, across the nation, For Freedoms partners continue to host town-hall chats, create billboards and register people to vote.\u003c/p>\n\u003cfigure id=\"attachment_13844062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844062\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-800x600.jpg\" alt=\"'The People's Oval Office,' from 100 Days Action.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The People’s Oval Office,’ from 100 Days Action. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, the San Jose Musuem of Art hosted “\u003ca href=\"https://forfreedoms.org/events/san-jose-museum-of-art-will-host-future-supper-a-p/\">Future Supper\u003c/a>,” which was both a meal and a public reading. In October, UC Berkeley and SFMOMA hosted an event about data and the political landscape called “\u003ca href=\"https://forfreedoms.org/events/uc-berkeley-center-for-new-media-sfmoma-uc-berkele/\">Hacking Politics\u003c/a>.” And this past weekend, the Oakland Museum of California just finished showing the work of Chris Johnson, “\u003ca href=\"http://museumca.org/projects/question-faith\">A Question of Faith\u003c/a>,” which juxtaposes images from the Depression-era photographer Dorothea Lange with quotes from Theodore Parker, the American Transcendentalist.\u003c/p>\n\u003cp>For those of us who aren’t planning on hitting an art gallery or museum anytime before midterm elections, it’s OK: you might see the art during your daily commute. Just a few Muni Metro stops from the new Warriors stadium in San Francisco, artist William Scott’s \u003ca href=\"http://www.creativegrowth.org/news/william-scott-billboard-freedoms-project/\">billboard\u003c/a> is mounted above Third Avenue at 22nd Street.\u003c/p>\n\u003cfigure id=\"attachment_13844359\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard.jpg\" alt=\"William Scott's billboard above San Francisco.\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-520x348.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">William Scott’s billboard above San Francisco. \u003ccite>(Barry Schwartz)\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\">“C\u003c/span>ollaboration, in itself, is amazing to see happen,” For Freedoms’ Program Manager Emma Nuzzo told me. Although Nuzzo doesn’t consider herself an artist, bringing together over 300 creators and 200 institutional partners from across the nation is a testament to the art of organizing.\u003c/p>\n\u003cp>Nuzzo was in the gallery with me and Thomas as we discussed this project and where it fits into the current state of politics.\u003c/p>\n\u003cp>“It’s great to be able to be a part of the conversation on how people can be involved in 2018,” said Thomas, a CCA graduate and the college’s first to be awarded the Creative Citizenship Fellowship. “But it isn’t just about picking a simple side. It’s about being informed.”\u003c/p>\n\u003cp>He alluded to some of the art on the wall as way to get informed, specifically \u003ca href=\"https://www.stephaniesyjuco.com/\">Stephanie Syjuco’s\u003c/a> “Free Text” installation, which features tear-away tabs of papers that have URLs, guiding people to free downloadable copies of books—titles such as \u003cem>The Activists Cookbook\u003c/em>, \u003cem>The Age of Intelligent Machines\u003c/em> and \u003cem>The New Jim Crow\u003c/em>. “What we want is free generosity and exchange in recent art. I’m just excited to be part of it all,” said Thomas.\u003c/p>\n\u003cp>When asked what success looks like, Thomas told me, “Until you’re dead, you can never be complete with the work. There’s that saying ‘the struggle continues,’ and in various political struggles and movements across the world, it does. The problem is, just when you think the work is done… that’s when the work really starts.”\u003c/p>\n\u003cp>I hear him on that. There was a widespread idea that we reached the zenith when President Obama was elected, which Thomas cautions against.\u003c/p>\n\u003cp>“People thought the work was done in 2008,” Thomas told me. “That might’ve been when the real work began.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Take Action’ runs through Nov. 16 at CCA’s Hubbell Street Gallery. \u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. The gallery also hosts a free live viewing of election results on Tuesday, Nov. 6.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Thomas, cofounder of For Freedoms, visited San Francisco as part of a nationwide project of exhibitions, town halls, billboards and more.",
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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\">A\u003c/span>bout a week ago, I found myself standing next to \u003ca href=\"https://www.hankwillisthomas.com/\">Hank Willis Thomas\u003c/a>, the world-renowned conceptual artist who built a career by creating pieces that critique aspects of race, pop culture and politics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I first heard about Thomas through his series of images that place aspects of slavery—chains, nooses and cotton—next to different athletes in action, a cold depiction of the similarities between the two institutions. I’d also seen Thomas’ image of \u003ca href=\"http://www.in-terms-of.com/personal-branding-with-hank-willis-thomas/\" target=\"_blank\" rel=\"noopener\">a Nike swoosh logo branded upon a bald African-American person’s head\u003c/a>, binding the company to a socio-political statement much different than the one Nike projected with Colin Kaepernick earlier this year.\u003c/p>\n\u003cp>And just about two years ago, Thomas co-founded (along with artist \u003ca href=\"https://www.ericgottesman.net/\">Eric Gottesman\u003c/a>) a hub for artists like him; a platform for “creative civic engagement, discourse, and direct action” called \u003ca href=\"https://forfreedoms.org/\">For Freedoms\u003c/a>. Currently, the group is leading actions, conversations and exhibitions \u003ca href=\"https://forfreedoms.org/explore/\">all across the United States\u003c/a>, including at California College of the Arts’ Hubbell Street Art Gallery in San Francisco, where Thomas and I stood side-by-side last week.\u003c/p>\n\u003cp>We both wore headphones, plugged into a small screen mounted on a wall. On the monitor, Beverly Henry, an African-American woman who spent 40 years in California prisons, sat holding a full-sized American flag.\u003c/p>\n\u003cfigure id=\"attachment_13844061\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13844061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TakeAction030-800x1200.jpg\" alt=\"Beverly Henry in 'Pledge,' a work of video art by Sharon Daniel.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction030.jpg 869w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Henry in ‘Pledge,’ a work of video art by Sharon Daniel. \u003ccite>(Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry told us that during her time in prison, she earned 65 cents per hour sewing flags. As she talked, she used a seam ripper to unstitch the flag, at times using her bare hands to disassemble the materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would be nice,” she said while pulling the flag apart, “if undoing the injustices was as easy as this.”\u003c/p>\n\u003cp>Thomas took off the headphones and exhaled. “That’s deep,” he said solemnly, before continuing his walk around the gallery.\u003c/p>\n\u003cp>The video, \u003cem>Pledge,\u003c/em> is a part of Sharon Daniel’s \u003ca href=\"http://www.sharondaniel.net/#pledge\">\u003cem>Undoing Time\u003c/em>\u003c/a> installation, which takes an artistic approach to exposing injustices in the American penal system.\u003c/p>\n\u003cp>Daniel’s installation also includes an actual American flag draped from the ceiling, inscribed with quotes taken from constitutional amendments, and overlapped with testimonies of people whose rights have been violated. There’s also a series of red caps in the style of Donald Trump’s “Make America Great Again” hats, but these ones are embroidered with statistics instead of slogans.\u003c/p>\n\u003cp>“It really comes down to these two hats that Sharon produced,” Jaime Austin, the gallery’s director of exhibitions & public programs, told me. “These all have different statistics about felon disenfranchisement. This one says 418,224 black former prisoners couldn’t vote in Florida in 2016,” Austin said, pointing from one hat to the other, “and Trump’s margin of victory was only 112,911 votes. That’s why this matters, because this is a form of voter suppression.”\u003c/p>\n\u003cfigure id=\"attachment_13844058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TakeAction024-800x533.jpg\" alt=\"'Undoing Time,' by Sharon Daniel.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TakeAction024.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of ‘Undoing Time,’ by Sharon Daniel. \u003ccite>(Josef Jacques)\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\">D\u003c/span>aniel is just one of a number of artists whose work is part of \u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" target=\"_blank\" rel=\"noopener\">CCA’s \u003cem>Take Action\u003c/em> exhibition\u003c/a>, running through Nov. 16. The pieces range from the somber to the humorous: the Center for Tactical Magic’s \u003ca href=\"http://tacticalmagic.org/project%20pages/Universal_Keys.htm\">\u003cem>Universal Keys\u003c/em>\u003c/a>—a wall sculpture of real handcuff keys—shares the space with 100 Days Action’s \u003ca href=\"http://100daysaction.net\">People’s Oval Office\u003c/a>, a mock oval office made of cardboard in which people are encouraged to draw up their own executive orders. The orders are then posted on a wall not too far the desk; the one that spoke to my heart simply read, “More Unicorns.”\u003c/p>\n\u003cp>Along with being able to demand more fictional animals, attendees are invited to fully participate in the art. There’s space for people to pick up cards that suggest doing political actions outside of the gallery, from simple acts, like saying hi to their neighbors, to more rigorous ones, like defending DREAMers from deportation.\u003c/p>\n\u003cp>Meanwhile, across the nation, For Freedoms partners continue to host town-hall chats, create billboards and register people to vote.\u003c/p>\n\u003cfigure id=\"attachment_13844062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844062\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-800x600.jpg\" alt=\"'The People's Oval Office,' from 100 Days Action.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The People’s Oval Office,’ from 100 Days Action. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, the San Jose Musuem of Art hosted “\u003ca href=\"https://forfreedoms.org/events/san-jose-museum-of-art-will-host-future-supper-a-p/\">Future Supper\u003c/a>,” which was both a meal and a public reading. In October, UC Berkeley and SFMOMA hosted an event about data and the political landscape called “\u003ca href=\"https://forfreedoms.org/events/uc-berkeley-center-for-new-media-sfmoma-uc-berkele/\">Hacking Politics\u003c/a>.” And this past weekend, the Oakland Museum of California just finished showing the work of Chris Johnson, “\u003ca href=\"http://museumca.org/projects/question-faith\">A Question of Faith\u003c/a>,” which juxtaposes images from the Depression-era photographer Dorothea Lange with quotes from Theodore Parker, the American Transcendentalist.\u003c/p>\n\u003cp>For those of us who aren’t planning on hitting an art gallery or museum anytime before midterm elections, it’s OK: you might see the art during your daily commute. Just a few Muni Metro stops from the new Warriors stadium in San Francisco, artist William Scott’s \u003ca href=\"http://www.creativegrowth.org/news/william-scott-billboard-freedoms-project/\">billboard\u003c/a> is mounted above Third Avenue at 22nd Street.\u003c/p>\n\u003cfigure id=\"attachment_13844359\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard.jpg\" alt=\"William Scott's billboard above San Francisco.\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/WilliamScott.Billboard-520x348.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">William Scott’s billboard above San Francisco. \u003ccite>(Barry Schwartz)\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\">“C\u003c/span>ollaboration, in itself, is amazing to see happen,” For Freedoms’ Program Manager Emma Nuzzo told me. Although Nuzzo doesn’t consider herself an artist, bringing together over 300 creators and 200 institutional partners from across the nation is a testament to the art of organizing.\u003c/p>\n\u003cp>Nuzzo was in the gallery with me and Thomas as we discussed this project and where it fits into the current state of politics.\u003c/p>\n\u003cp>“It’s great to be able to be a part of the conversation on how people can be involved in 2018,” said Thomas, a CCA graduate and the college’s first to be awarded the Creative Citizenship Fellowship. “But it isn’t just about picking a simple side. It’s about being informed.”\u003c/p>\n\u003cp>He alluded to some of the art on the wall as way to get informed, specifically \u003ca href=\"https://www.stephaniesyjuco.com/\">Stephanie Syjuco’s\u003c/a> “Free Text” installation, which features tear-away tabs of papers that have URLs, guiding people to free downloadable copies of books—titles such as \u003cem>The Activists Cookbook\u003c/em>, \u003cem>The Age of Intelligent Machines\u003c/em> and \u003cem>The New Jim Crow\u003c/em>. “What we want is free generosity and exchange in recent art. I’m just excited to be part of it all,” said Thomas.\u003c/p>\n\u003cp>When asked what success looks like, Thomas told me, “Until you’re dead, you can never be complete with the work. There’s that saying ‘the struggle continues,’ and in various political struggles and movements across the world, it does. The problem is, just when you think the work is done… that’s when the work really starts.”\u003c/p>\n\u003cp>I hear him on that. There was a widespread idea that we reached the zenith when President Obama was elected, which Thomas cautions against.\u003c/p>\n\u003cp>“People thought the work was done in 2008,” Thomas told me. “That might’ve been when the real work began.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Take Action’ runs through Nov. 16 at CCA’s Hubbell Street Gallery. \u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. The gallery also hosts a free live viewing of election results on Tuesday, Nov. 6.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the Nov. 6 midterm elections less than two weeks away (\u003ca href=\"https://www.sos.ca.gov/elections/upcoming-elections/general-election-november-6-2018/\" target=\"_blank\" rel=\"noopener\">DON’T FORGET TO VOTE\u003c/a>), a sleek show at California College of the Art’s Hubbell Street Galleries reminds audiences that all good art is political.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" rel=\"noopener\" target=\"_blank\">Take Action\u003c/a>\u003c/i> features 12 Bay Area artists and collectives who’ve long been working in the arena of political art, surfacing truths about the ways our government and its policies affect (or restrict) everyday lives. The show is part of CCA’s involvement with For Freedoms’ \u003ca href=\"https://forfreedoms.org/explore/\" target=\"_blank\" rel=\"noopener\">50 State Initiative\u003c/a>, an artist-run project promoting civic participation, discourse and direct action.\u003c/p>\n\u003cfigure id=\"attachment_13843374\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TakeAction003.jpg\" alt=\"Installation view of 'Take Action' at CCA Hubbell St Galleries, 2018.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13843374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-520x347.jpg 520w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Take Action’ at CCA Hubbell St Galleries, 2018. \u003ccite>(Photo by Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That last point—direct action—is key in a show with an imperative for its title. The exhibition opens with a wall of cards with suggestions of easy ways to \u003ci>do something\u003c/i>—like donating time, energy or skills to just causes, calling representatives or viewing other politically minded art.\u003c/p>\n\u003cp>Similarly, several of the installations provide takeaway materials or hands-on activities for visitors—the most enjoyable of which is \u003ca href=\"https://www.kqed.org/arts/12641314/local-artists-organize-100-day-calendar-of-creative-resistance\" rel=\"noopener\" target=\"_blank\">100DaysAction\u003c/a>‘s cardboard version of the Oval Office, in which the public can sign their own executive orders (and be photographed in the process by an “official” press secretary).\u003c/p>\n\u003cp>Perhaps the greatest form of inspiration is the art itself: all the artists in \u003ci>Take Action\u003c/i> present work that results from thoroughly questioning what it means to be an engaged member of society, or as the exhibition puts it, “a creative citizen in your community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Take Action’ is on view at CCA’s Hubbell St Galleries (161-131 Hubbell St, San Francisco) through Nov. 16, 2018, with public events throughout the run. \u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the Nov. 6 midterm elections less than two weeks away (\u003ca href=\"https://www.sos.ca.gov/elections/upcoming-elections/general-election-november-6-2018/\" target=\"_blank\" rel=\"noopener\">DON’T FORGET TO VOTE\u003c/a>), a sleek show at California College of the Art’s Hubbell Street Galleries reminds audiences that all good art is political.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.cca.edu/calendar/2018/take-action\" rel=\"noopener\" target=\"_blank\">Take Action\u003c/a>\u003c/i> features 12 Bay Area artists and collectives who’ve long been working in the arena of political art, surfacing truths about the ways our government and its policies affect (or restrict) everyday lives. The show is part of CCA’s involvement with For Freedoms’ \u003ca href=\"https://forfreedoms.org/explore/\" target=\"_blank\" rel=\"noopener\">50 State Initiative\u003c/a>, an artist-run project promoting civic participation, discourse and direct action.\u003c/p>\n\u003cfigure id=\"attachment_13843374\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TakeAction003.jpg\" alt=\"Installation view of 'Take Action' at CCA Hubbell St Galleries, 2018.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13843374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TakeAction003-520x347.jpg 520w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Take Action’ at CCA Hubbell St Galleries, 2018. \u003ccite>(Photo by Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That last point—direct action—is key in a show with an imperative for its title. The exhibition opens with a wall of cards with suggestions of easy ways to \u003ci>do something\u003c/i>—like donating time, energy or skills to just causes, calling representatives or viewing other politically minded art.\u003c/p>\n\u003cp>Similarly, several of the installations provide takeaway materials or hands-on activities for visitors—the most enjoyable of which is \u003ca href=\"https://www.kqed.org/arts/12641314/local-artists-organize-100-day-calendar-of-creative-resistance\" rel=\"noopener\" target=\"_blank\">100DaysAction\u003c/a>‘s cardboard version of the Oval Office, in which the public can sign their own executive orders (and be photographed in the process by an “official” press secretary).\u003c/p>\n\u003cp>Perhaps the greatest form of inspiration is the art itself: all the artists in \u003ci>Take Action\u003c/i> present work that results from thoroughly questioning what it means to be an engaged member of society, or as the exhibition puts it, “a creative citizen in your community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"marketplace": {
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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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},
"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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