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"content": "\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-death-and-rebirth-of-san-franciscos-gallery-scene",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/230351516″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Union Square was once the heart of San Francisco’s gallery district, but not so much anymore.\u003c/p>\n\u003cp>About 20 months ago, some of the city’s best known galleries were evicted to make room for a tech company, or gave up their leases because they couldn’t afford the soaring rents. \u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten\u003c/a> was among them. She ran her gallery at 77 Geary Street for nearly 30 years.\u003c/p>\n\u003cp>“In the old days,” Bransten said recently, “it was much more congenial. People wanted to come to the art galleries and schmooze and talk and go to openings, and that’s not really true anymore.”\u003c/p>\n\u003cp>When I talked to Bransten the other day, she was sitting in her storefront on Market St. near Civic Center, in a temporary space too small to mount a full show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods: \u003ca href=\"http://jessicasilvermangallery.com/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman\u003c/a> in the Tenderloin, \u003ca href=\"http://www.gallerywendinorris.com/index.php\" target=\"_blank\" rel=\"noopener\">Wendi Norris \u003c/a>south of Market Street, and \u003ca href=\"http://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catherine Clark\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer\u003c/a>, \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener\">Brian Gross\u003c/a> and \u003ca href=\"http://www.georgelawsongallery.com/\" target=\"_blank\" rel=\"noopener\">George Lawson \u003c/a>all in Potrero Flats near the Design District.\u003c/p>\n\u003cp>One of Bransten’s old neighbors at 77 Geary St., \u003ca href=\"http://georgekrevskygallery.com/\" target=\"_blank\" rel=\"noopener\">George Krevsky\u003c/a>, took a more radical approach, and moved his business to his home in the Oakland Hills.\u003c/p>\n\u003cp>“The idea is a work in progress,” said Krevsky.\u003c/p>\n\u003cp>“Here are two Milton Avery drawings,” he said while standing in the doorway to a guest bedroom during a tour, which continued through the living room and into his office, where its walls were covered with paintings consigned for sale by Lawrence Ferlinghetti and Jack Levine, and prints by Ben Shahn.\u003c/p>\n\u003cp>Occasionally Krevsky shows a buyer through the house, but he says most of his sales now are at art fairs or to clients whose experience of the work is an image delivered over the internet.\u003c/p>\n\u003cp>“It’s in there,” Krevsky said pointing to his computer. “And that’s cold. I miss the warmth of the artist being there, and the client coming in and seeing the reaction between the human being and the painting. But I think brick-and-mortar galleries are a thing of the past.”\u003c/p>\n\u003cp>What’s at stake for the Bay Area art scene may not be obvious, with museums thriving around the bay, and the San Francisco Museum of Modern Art reopening in the spring.\u003c/p>\n\u003cp>But Renny Pritikin, now chief curator at the Contemporary Jewish Museum, says galleries are essential to the Bay Area’s arts ecosystem, “Art fairs are elitist,” he said. “But anyone can come into a commercial gallery and meet the curator and the artist for free. I don’t know many fields where that’s the case. And it would be a loss if this went away.”\u003c/p>\n\u003cp>But maybe the old gallery model can still thrive in the right location at the right price.\u003c/p>\n\u003cp>That’s what Deborah Rappaport and Andrew, her venture capitalist husband, are hoping. They’re converting a huge warehouse, once the home of a cabinet maker, into a space for 10 galleries on Minnesota St. in San Francisco’s Dogpatch neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11037154\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg\" alt=\"Eleanor Harwood and Chris Grunder at 1275 Minnesota Street\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eleanor Harwood and Chris Grunder at 1275 Minnesota Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Galleries need a physical presence,” Rappaport told me on a recent tour, “whether that’s where most of their sales come from or not. It’s the way they build careers for their artists, it’s the way they build inventory for the art fairs that they have to go to.”\u003c/p>\n\u003cp>The Rappaports are longtime arts patrons who watched with dismay as gallery after gallery lost its lease. So they came up with a business plan for this new space set to open this spring.\u003c/p>\n\u003cp>“We’re doing a for profit model, where we just want to break even,” said Rappaport.\u003c/p>\n\u003cp>Yet Rappaport says they can still offer affordable rents, a quarter to a third of what galleries are now paying around Union Square. Plus the Rappaport’s are offering free utilities, providing a room in which to show videoes, packing and shipping facilities, a café and a bar, and even showers.\u003c/p>\n\u003cp>“Nobody is happier about having showers on site than a gallerist,” Rappaport said laughing. “Because they can hang their shows until 15 minutes before the public shows up, and they don’t have to go home to change.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">The Minnesota Street Project\u003c/a>, as it’s called, has attracted younger gallery owners like Chris Grunder.\u003c/p>\n\u003cp>“If this didn’t exist,” he said recently, while sidestepping construction workers and a forklift piled high with steel beams, “we probably would not have continued as a gallery.”\u003c/p>\n\u003cp>Grunder’s gallery,\u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\"> Bass and Reiner\u003c/a>, is losing its Mission District space to — no surprise — a tech company.\u003c/p>\n\u003cp>Grunder’s and his future neighbors hope Minnesota St. will become a community, a destination for art lovers and artists to gather, drink and schmooze.\u003c/p>\n\u003cp>“I’m really looking forward to that,” said Trish Bransten, Rena Bransten’s daughter and gallery director.\u003c/p>\n\u003cp>Yup. The Branstens are moving their gallery to Rappaport’s Minnesota Street Project.\u003c/p>\n\u003cp>“The parallel to Union Square,” Trish Bransten said, “is that the people who come from out of town, will have a place to go.”\u003c/p>\n\u003cp>So score one for the city’s art galleries. But how do you save artists’ studios, which are falling in numbers due to rents increasing at a rapid pace?\u003c/p>\n\u003cp>Deborah Rappaport and her husband are also working on that, with plans to convert another 20,000-square-foot warehouse on Minnesota St. into art studios.\u003c/p>\n\u003cp>Another obliging landlord turned down higher offers to make room for North Beach Bauhaus, a five-artist studio and gallery collective in North Beach, one of the city’s highest rent neighborhoods.\u003c/p>\n\u003cp>“Our plan is to make rent the first year,” said photographer and collective member James Cha, “break even the second year, and be profitable the third year.”\u003c/p>\n\u003cfigure id=\"attachment_11037151\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"James Cha at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Cha at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha said he and his fellow artists consider themselves very lucky. They had a gallery on Green St. but lost the lease when the landlord raised the rent.\u003c/p>\n\u003cfigure id=\"attachment_11037152\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"Earl Thibodeau at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Earl Thibodeau at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha shares the space with Earl Thibodeau, who makes colorful hipster hats in the large basement studio they all share. Thibodeau offers this reminder of why it’s worth saving space for local artists to make and show their work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have all the stores that are selling mass produced stuff,” Thibodeau said. “Artists add the humanistic approach to life. You sort of inspire people. Make people dream.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/230351516″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/230351516″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Union Square was once the heart of San Francisco’s gallery district, but not so much anymore.\u003c/p>\n\u003cp>About 20 months ago, some of the city’s best known galleries were evicted to make room for a tech company, or gave up their leases because they couldn’t afford the soaring rents. \u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten\u003c/a> was among them. She ran her gallery at 77 Geary Street for nearly 30 years.\u003c/p>\n\u003cp>“In the old days,” Bransten said recently, “it was much more congenial. People wanted to come to the art galleries and schmooze and talk and go to openings, and that’s not really true anymore.”\u003c/p>\n\u003cp>When I talked to Bransten the other day, she was sitting in her storefront on Market St. near Civic Center, in a temporary space too small to mount a full show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods: \u003ca href=\"http://jessicasilvermangallery.com/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman\u003c/a> in the Tenderloin, \u003ca href=\"http://www.gallerywendinorris.com/index.php\" target=\"_blank\" rel=\"noopener\">Wendi Norris \u003c/a>south of Market Street, and \u003ca href=\"http://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catherine Clark\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer\u003c/a>, \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener\">Brian Gross\u003c/a> and \u003ca href=\"http://www.georgelawsongallery.com/\" target=\"_blank\" rel=\"noopener\">George Lawson \u003c/a>all in Potrero Flats near the Design District.\u003c/p>\n\u003cp>One of Bransten’s old neighbors at 77 Geary St., \u003ca href=\"http://georgekrevskygallery.com/\" target=\"_blank\" rel=\"noopener\">George Krevsky\u003c/a>, took a more radical approach, and moved his business to his home in the Oakland Hills.\u003c/p>\n\u003cp>“The idea is a work in progress,” said Krevsky.\u003c/p>\n\u003cp>“Here are two Milton Avery drawings,” he said while standing in the doorway to a guest bedroom during a tour, which continued through the living room and into his office, where its walls were covered with paintings consigned for sale by Lawrence Ferlinghetti and Jack Levine, and prints by Ben Shahn.\u003c/p>\n\u003cp>Occasionally Krevsky shows a buyer through the house, but he says most of his sales now are at art fairs or to clients whose experience of the work is an image delivered over the internet.\u003c/p>\n\u003cp>“It’s in there,” Krevsky said pointing to his computer. “And that’s cold. I miss the warmth of the artist being there, and the client coming in and seeing the reaction between the human being and the painting. But I think brick-and-mortar galleries are a thing of the past.”\u003c/p>\n\u003cp>What’s at stake for the Bay Area art scene may not be obvious, with museums thriving around the bay, and the San Francisco Museum of Modern Art reopening in the spring.\u003c/p>\n\u003cp>But Renny Pritikin, now chief curator at the Contemporary Jewish Museum, says galleries are essential to the Bay Area’s arts ecosystem, “Art fairs are elitist,” he said. “But anyone can come into a commercial gallery and meet the curator and the artist for free. I don’t know many fields where that’s the case. And it would be a loss if this went away.”\u003c/p>\n\u003cp>But maybe the old gallery model can still thrive in the right location at the right price.\u003c/p>\n\u003cp>That’s what Deborah Rappaport and Andrew, her venture capitalist husband, are hoping. They’re converting a huge warehouse, once the home of a cabinet maker, into a space for 10 galleries on Minnesota St. in San Francisco’s Dogpatch neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11037154\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg\" alt=\"Eleanor Harwood and Chris Grunder at 1275 Minnesota Street\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eleanor Harwood and Chris Grunder at 1275 Minnesota Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Galleries need a physical presence,” Rappaport told me on a recent tour, “whether that’s where most of their sales come from or not. It’s the way they build careers for their artists, it’s the way they build inventory for the art fairs that they have to go to.”\u003c/p>\n\u003cp>The Rappaports are longtime arts patrons who watched with dismay as gallery after gallery lost its lease. So they came up with a business plan for this new space set to open this spring.\u003c/p>\n\u003cp>“We’re doing a for profit model, where we just want to break even,” said Rappaport.\u003c/p>\n\u003cp>Yet Rappaport says they can still offer affordable rents, a quarter to a third of what galleries are now paying around Union Square. Plus the Rappaport’s are offering free utilities, providing a room in which to show videoes, packing and shipping facilities, a café and a bar, and even showers.\u003c/p>\n\u003cp>“Nobody is happier about having showers on site than a gallerist,” Rappaport said laughing. “Because they can hang their shows until 15 minutes before the public shows up, and they don’t have to go home to change.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">The Minnesota Street Project\u003c/a>, as it’s called, has attracted younger gallery owners like Chris Grunder.\u003c/p>\n\u003cp>“If this didn’t exist,” he said recently, while sidestepping construction workers and a forklift piled high with steel beams, “we probably would not have continued as a gallery.”\u003c/p>\n\u003cp>Grunder’s gallery,\u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\"> Bass and Reiner\u003c/a>, is losing its Mission District space to — no surprise — a tech company.\u003c/p>\n\u003cp>Grunder’s and his future neighbors hope Minnesota St. will become a community, a destination for art lovers and artists to gather, drink and schmooze.\u003c/p>\n\u003cp>“I’m really looking forward to that,” said Trish Bransten, Rena Bransten’s daughter and gallery director.\u003c/p>\n\u003cp>Yup. The Branstens are moving their gallery to Rappaport’s Minnesota Street Project.\u003c/p>\n\u003cp>“The parallel to Union Square,” Trish Bransten said, “is that the people who come from out of town, will have a place to go.”\u003c/p>\n\u003cp>So score one for the city’s art galleries. But how do you save artists’ studios, which are falling in numbers due to rents increasing at a rapid pace?\u003c/p>\n\u003cp>Deborah Rappaport and her husband are also working on that, with plans to convert another 20,000-square-foot warehouse on Minnesota St. into art studios.\u003c/p>\n\u003cp>Another obliging landlord turned down higher offers to make room for North Beach Bauhaus, a five-artist studio and gallery collective in North Beach, one of the city’s highest rent neighborhoods.\u003c/p>\n\u003cp>“Our plan is to make rent the first year,” said photographer and collective member James Cha, “break even the second year, and be profitable the third year.”\u003c/p>\n\u003cfigure id=\"attachment_11037151\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"James Cha at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Cha at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha said he and his fellow artists consider themselves very lucky. They had a gallery on Green St. but lost the lease when the landlord raised the rent.\u003c/p>\n\u003cfigure id=\"attachment_11037152\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"Earl Thibodeau at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Earl Thibodeau at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha shares the space with Earl Thibodeau, who makes colorful hipster hats in the large basement studio they all share. Thibodeau offers this reminder of why it’s worth saving space for local artists to make and show their work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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},
"mindshift": {
"id": "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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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"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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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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"
},
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