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"content": "\u003cp>The San Francisco Arts Commission (SFAC) has put out a call for artists for a series of public art projects planned in the Bayview neighborhood.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/find-opportunities/calls-for-artists/2018-bayview-artist-registry\" rel=\"noopener\" target=\"_blank\">2018 Bayview Artist Registry\u003c/a> will be used to commission artists for a three-year beautification project in the Bayview. Artists who register will be considered for a series of permanent public works with budgets up to $1 million. \u003c/p>\n\u003cp>Among the structures considered for artistic treatment are the Southeast Wastewater Treatment Plant’s smokestack, the Southeast Health Center and the community facility on Oakdale Avenue. \u003c/p>\n\u003cp>The SFAC encourages artists with “meaningful connections” to the Bayview, such as those living or who have lived in the area. \u003c/p>\n\u003cp>Though the commission requests that artists refrain from pitching specific concepts with their registration, there are deadlines to apply for the bigger projects. For the Southeast Health Center project, artists must register by April 4; for the Southeast Wastewater Treatment Plant and community facility, it’s May 9.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Bayview-Hunters Point already hosts several notable murals, including the iconic painting on the \u003ca href=\"http://bayviewci.org/\" rel=\"noopener\" target=\"_blank\">Bayview Hunters Point Foundation\u003c/a> building, in place since the 1980s, and the more recent \u003ca href=\"https://blog.americansforthearts.org/by-program/networks-and-councils/public-art-network/public-art-year-in-review-database/bayview-rise\" rel=\"noopener\" target=\"_blank\">Bayview Rise\u003c/a> mural (2011) on a 187-foot grain elevator that lights up at night.\u003c/p>\n\u003cp>The SFAC is also currently surveying San Francisco artists for an artist census. Kate Patterson-Murphy, SFAC’s director of communications, says that the primary purpose of the census is to obtain “a better understanding of the demographics and household income of artists and cultural workers in San Francisco.” \u003c/p>\n\u003cp>“This survey is legally required to gather demographic data (household income, race, ethnicity, etc) of artists and culture workers so that we can move forward with an artist preference in inclusionary housing,” Patterson-Murphy said. “We need to show that our artists and cultural worker population mirrors other communities also seeking affordable housing. But we also just want to better understand the demographics of the cultural community as a whole so that we can ensure equitable distribution of resources. ”\u003c/p>\n\u003cp>The commission has conducted artist surveys before, which it used to determine housing issues for the city’s creative class. A survey of artists facing housing issues in 2015 found that of the 600 artists that responded, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had moved out of the city\u003c/a> or were being forced out due to market forces. \u003c/p>\n\u003cp>According to the U.S. census, \u003ca href=\"https://qz.com/1113019/the-us-cities-with-the-highest-concentrations-of-working-artists/\" rel=\"noopener\" target=\"_blank\">San Francisco is second in the nation\u003c/a> in its concentration of resident artists. (New York City is No. 1.)\u003c/p>\n\u003cp>If you are an artist who lived or used to live in San Francisco, the \u003ca href=\"https://www.surveymonkey.com/r/artsworkforcesurvey\" rel=\"noopener\" target=\"_blank\">survey is here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>CORRECTION:\u003c/b> \u003ci>This article previously described the SFAC census as being a continuation of its artist surveys, which was incorrect. The artist census is separate from other surveys the commission has conducted.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Arts Commission (SFAC) has put out a call for artists for a series of public art projects planned in the Bayview neighborhood.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/find-opportunities/calls-for-artists/2018-bayview-artist-registry\" rel=\"noopener\" target=\"_blank\">2018 Bayview Artist Registry\u003c/a> will be used to commission artists for a three-year beautification project in the Bayview. Artists who register will be considered for a series of permanent public works with budgets up to $1 million. \u003c/p>\n\u003cp>Among the structures considered for artistic treatment are the Southeast Wastewater Treatment Plant’s smokestack, the Southeast Health Center and the community facility on Oakdale Avenue. \u003c/p>\n\u003cp>The SFAC encourages artists with “meaningful connections” to the Bayview, such as those living or who have lived in the area. \u003c/p>\n\u003cp>Though the commission requests that artists refrain from pitching specific concepts with their registration, there are deadlines to apply for the bigger projects. For the Southeast Health Center project, artists must register by April 4; for the Southeast Wastewater Treatment Plant and community facility, it’s May 9.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bayview-Hunters Point already hosts several notable murals, including the iconic painting on the \u003ca href=\"http://bayviewci.org/\" rel=\"noopener\" target=\"_blank\">Bayview Hunters Point Foundation\u003c/a> building, in place since the 1980s, and the more recent \u003ca href=\"https://blog.americansforthearts.org/by-program/networks-and-councils/public-art-network/public-art-year-in-review-database/bayview-rise\" rel=\"noopener\" target=\"_blank\">Bayview Rise\u003c/a> mural (2011) on a 187-foot grain elevator that lights up at night.\u003c/p>\n\u003cp>The SFAC is also currently surveying San Francisco artists for an artist census. Kate Patterson-Murphy, SFAC’s director of communications, says that the primary purpose of the census is to obtain “a better understanding of the demographics and household income of artists and cultural workers in San Francisco.” \u003c/p>\n\u003cp>“This survey is legally required to gather demographic data (household income, race, ethnicity, etc) of artists and culture workers so that we can move forward with an artist preference in inclusionary housing,” Patterson-Murphy said. “We need to show that our artists and cultural worker population mirrors other communities also seeking affordable housing. But we also just want to better understand the demographics of the cultural community as a whole so that we can ensure equitable distribution of resources. ”\u003c/p>\n\u003cp>The commission has conducted artist surveys before, which it used to determine housing issues for the city’s creative class. A survey of artists facing housing issues in 2015 found that of the 600 artists that responded, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had moved out of the city\u003c/a> or were being forced out due to market forces. \u003c/p>\n\u003cp>According to the U.S. census, \u003ca href=\"https://qz.com/1113019/the-us-cities-with-the-highest-concentrations-of-working-artists/\" rel=\"noopener\" target=\"_blank\">San Francisco is second in the nation\u003c/a> in its concentration of resident artists. (New York City is No. 1.)\u003c/p>\n\u003cp>If you are an artist who lived or used to live in San Francisco, the \u003ca href=\"https://www.surveymonkey.com/r/artsworkforcesurvey\" rel=\"noopener\" target=\"_blank\">survey is here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>CORRECTION:\u003c/b> \u003ci>This article previously described the SFAC census as being a continuation of its artist surveys, which was incorrect. The artist census is separate from other surveys the commission has conducted.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the third and fourth graders of Oakland’s Hoover Elementary School started creating superheroes to creatively address the problems in their community, they had no idea they would have to become their own heroes — and fight a battle against Caltrans.\u003c/p>\n\u003cp>\u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">The Oakland Super Heroes Project\u003c/a>, a classroom curriculum and mural series led by \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>, worked with Hoover students to invent themselves as superheroes. Fantastic Girl has water powers to stop floods and fires and to clean the community; Lava Girl and Lava Boy melt guns with their lava vision; Golden Boy has an electric force field to fight crime; and D-Bow Jalapeño uses magical cheese to transform the community.\u003c/p>\n\u003cp>Even though the Hoover students’ design would be the project’s fourth \u003ca href=\"https://ww2.kqed.org/arts/2016/06/08/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project/\" target=\"_blank\" rel=\"noopener\">superheroes mural on a wall under an Oakland freeway overpass\u003c/a>, Caltrans suddenly required the artists to sign over the copyright, halting progress on the mural.\u003c/p>\n\u003cp>Unwilling to back down, the project curriculum expanded to include poster-making, letter writing, and protest chants. What would normally take about a year — from concepts to designs to completion — became a two-and-a-half year crash course in taking on the California Department of Transportation.\u003c/p>\n\u003cp>“I learned I can do anything I put my mind to,” says student artist Daijon Kelly. “Nobody can stop me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the now fifth and sixth graders of Hoover Elementary over the course of their unexpected journey to bring art and beauty into their community. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the third and fourth graders of Oakland’s Hoover Elementary School started creating superheroes to creatively address the problems in their community, they had no idea they would have to become their own heroes — and fight a battle against Caltrans.\u003c/p>\n\u003cp>\u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">The Oakland Super Heroes Project\u003c/a>, a classroom curriculum and mural series led by \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>, worked with Hoover students to invent themselves as superheroes. Fantastic Girl has water powers to stop floods and fires and to clean the community; Lava Girl and Lava Boy melt guns with their lava vision; Golden Boy has an electric force field to fight crime; and D-Bow Jalapeño uses magical cheese to transform the community.\u003c/p>\n\u003cp>Even though the Hoover students’ design would be the project’s fourth \u003ca href=\"https://ww2.kqed.org/arts/2016/06/08/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project/\" target=\"_blank\" rel=\"noopener\">superheroes mural on a wall under an Oakland freeway overpass\u003c/a>, Caltrans suddenly required the artists to sign over the copyright, halting progress on the mural.\u003c/p>\n\u003cp>Unwilling to back down, the project curriculum expanded to include poster-making, letter writing, and protest chants. What would normally take about a year — from concepts to designs to completion — became a two-and-a-half year crash course in taking on the California Department of Transportation.\u003c/p>\n\u003cp>“I learned I can do anything I put my mind to,” says student artist Daijon Kelly. “Nobody can stop me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Book Captures the Murals, and Cultural Collisions, of the Mission",
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"content": "\u003cp>When Carlos Gonzalez, a San Francisco Mission native and muralist, first heard that a man named Dick Evans wanted to make a photography book about murals in the Mission, he wasn’t immediately on board.\u003c/p>\n\u003cp>“I’ve been through experiences before where people come, pick our brains, and then kind of use and abuse us and misrepresent what we say,” says Gonzalez, “so I was a little skeptical.”\u003c/p>\n\u003cp>Four years later, though, Gonzalez couldn’t be happier with \u003ca href=\"https://heydaybooks.com/book/the-mission/\">\u003cem>Mission\u003c/em>,\u003c/a> Evans’ finished product recently released by Heyday Books.\u003c/p>\n\u003cp>“Many people from the neighborhood would be really proud to have that book on their coffee table and brag about it, because that’s the essence of the neighborhood in the book,” says Gonzalez. “I mean, not only did he cover the murals, but he captured the culture. You can actually smell the \u003cem>carnitas\u003c/em> and the fresh \u003cem>pan dulce\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_12928942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg\" alt='\"Santana\" by Mel Waters and David Cho, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Santana’ by Mel Waters and David Cho, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Community murals in general — but especially murals in San Francisco’s Mission District — occupy complicated and slippery cultural terrain. Initially a community-led method of beautification for a neighborhood neglected by local government, the Mission District’s fantastically rich display of murals has also become one of the characteristics drawing newcomers — and, in turn, contributing to the ongoing displacement of primarily Latino families who have resided in the area for decades. (Gonzalez himself was priced out and now lives in San Bruno.) The vibrant visibility of the murals makes them simultaneously empowering and co-optable. Capturing them in a coffee table book only adds another layer of vulnerability.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em>, however, isn’t some anthropological catalogue. The brightly saturated hardcover book offers close-ups of artistry in the murals as well as more contextual shots of the paintings’ true use as backdrop to urban life. In many, pedestrians walk through the frame, their sneakers and jackets adding pops of color that juxtapose the palettes of the walls. Meanwhile, fruit markets, restaurant signs, and events such as Carnivale offer their own kind of color.\u003c/p>\n\u003cfigure id=\"attachment_12928946\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-7.jpg\" alt='\"Puebla Mexico Takeout\" sign photographed by Dick Evans. ' width=\"720\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-520x780.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘Puebla Mexico Takeout’ sign photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mission\u003c/em> is not Evans’ first photography book. In 2011, he published \u003cem>San Francisco and the Bay Area: The Haight-Ashbury Edition\u003c/em>, which focused on murals along San Francisco’s famous Haight Street. But, as soon as he began \u003cem>Mission\u003c/em>, he realized this book would be much more complicated. “The murals in the Mission are inherently much more political,” he says.\u003c/p>\n\u003cp>He also decided early on that he wanted to use the project to raise funds for a local institution. The obvious choice was Precita Eyes, a long-running community-based mural organization that’s key to the area’s heart and soul. Profits from the book will support the organization.\u003c/p>\n\u003cp>A close look at the murals of the Mission also offers a visualized social history of the area. Evans’ book begins with a portrait of Ohlone descendant and writer Vincent Medina in front of “Mission Dolores Mural,” a public recreation of the mural that sits behind the altar in the famous Mission Dolores, originally painted by Ohlone artists during the late 18th century. In the time since Evans took the photo, the mural was torn down due to fire damage on the building.\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em> goes on to include murals painted in protest of U.S. involvement in Central American civil wars in the 1970s, murals demanding justice for laborers and all people of color, Black Panther murals, LGBTQ-centric murals, anti-police brutality murals, and murals about gentrification.\u003c/p>\n\u003cfigure id=\"attachment_12928945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg\" alt='\"St Francis: Past, Present, and Future\" by Daniel P. Doherty, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘St Francis: Past, Present, and Future’ by Daniel P. Doherty, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But rather than offering historical background for the paintings, \u003cem>Mission\u003c/em> is instead punctuated with poems, statements, and interview excerpts from artists, activists, and residents who call the neighborhood home. These were collected by muralist and tenant’s rights activist Carla Wojczuk, whom Precita Eyes co-founder Susan Cervantes asked to act as a community liaison for the project. Wojczuk says the inclusions are important because they ensure the book is not only “for the community, but also by the community.”\u003c/p>\n\u003cfigure id=\"attachment_12928941\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-4.jpg\" alt=\""La Llorona's Sacred Waters" by Juana Alicia Araiza photographed by Dick Evans. \" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘La Llorona’s Sacred Waters’ by Juana Alicia Araiza, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those elongated captions are many statements by artist Juana Alicia, who painted \u003cem>La Llorona’s Sacred Waters\u003c/em> on York and 24th Streets — a dynamic narrative rendered in blue and red that’s one of the most admired murals in the Mission today. “Every time I emerge from the guts of the 24th Street BART Station, with its tamale vendors, sidewalk musicians, drunks, junkies, bible-thumpers, hipsters on their way to Noe Valley or their new Mission condos, and political organizers, I feel reborn, like I have arrived,” reads one of Alicia’s contributions. “It’s the same way I feel in the Zócalo in Mexico City, where 500 years of history are on decade-by-decade display. I am mesmerized and absorbed, and could draw there for days at a time.”\u003c/p>\n\u003cp>In his photographer’s statement, Evans writes that he intentionally aimed not to politicize any of the content in the book or the cultural shifts in the area. Simply, the goal was to document and let the images speak for themselves. That decision is largely what makes the collection interesting — because it leaves room for all the slippery and chaotic cultural collisions that make the Mission what it is today.\u003c/p>\n\u003cfigure id=\"attachment_12928944\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg\" alt='\"La Flor de la Vida\" by Elaine Chu and Marina Perez-Wong photographed by Dick Evans. ' width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-768x940.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1020x1248.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1180x1444.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-960x1174.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-375x459.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-520x636.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Flor de la Vida’ by Elaine Chu and Marina Perez-Wong, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than the typical dry opener one might expect, \u003cem>Mission\u003c/em> begins with a gorgeous poem by U.S. poet laureate Juan Felipe Herrera — who is Mission-raised. Then comes the introduction, a personal essay by Wojczuk that ultimately does offer some radically upfront political positioning that one might only find in a coffee table book published by Berkeley’s conscientious Heyday Books.\u003c/p>\n\u003cp>“The Mission is tangled in myriad strands of history, but the purpose of this book is not to offer up an archeological or architectural scavenger hunt,” writes Wojczuk. “The demographics of the Mission are changing rapidly and often traumatically, but we are not here to fetishize a settler/colonial mentality, nor do we attempt to satisfy progressive dying-culture savior mentalities.\u003c/p>\n\u003cp>“This is a record of a history that lies in the present: contested, dynamic, and made by many forces.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>A launch event for ‘Mission’ takes place at Gray Area (2665 Mission St., San Francisco) on Thursday, April 13, at 6pm. See \u003ca href=\"https://missionbooksf.com/\">here\u003c/a> for more details. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Murals beautify and empower a neighborhood — and can also contribute to gentrification and displacement. 'Mission,' out this month, thoughtfully straddles the divide.",
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"title": "New Book Captures the Murals, and Cultural Collisions, of the Mission | KQED",
"description": "Murals beautify and empower a neighborhood — and can also contribute to gentrification and displacement. 'Mission,' out this month, thoughtfully straddles the divide.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Carlos Gonzalez, a San Francisco Mission native and muralist, first heard that a man named Dick Evans wanted to make a photography book about murals in the Mission, he wasn’t immediately on board.\u003c/p>\n\u003cp>“I’ve been through experiences before where people come, pick our brains, and then kind of use and abuse us and misrepresent what we say,” says Gonzalez, “so I was a little skeptical.”\u003c/p>\n\u003cp>Four years later, though, Gonzalez couldn’t be happier with \u003ca href=\"https://heydaybooks.com/book/the-mission/\">\u003cem>Mission\u003c/em>,\u003c/a> Evans’ finished product recently released by Heyday Books.\u003c/p>\n\u003cp>“Many people from the neighborhood would be really proud to have that book on their coffee table and brag about it, because that’s the essence of the neighborhood in the book,” says Gonzalez. “I mean, not only did he cover the murals, but he captured the culture. You can actually smell the \u003cem>carnitas\u003c/em> and the fresh \u003cem>pan dulce\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_12928942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg\" alt='\"Santana\" by Mel Waters and David Cho, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Santana’ by Mel Waters and David Cho, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Community murals in general — but especially murals in San Francisco’s Mission District — occupy complicated and slippery cultural terrain. Initially a community-led method of beautification for a neighborhood neglected by local government, the Mission District’s fantastically rich display of murals has also become one of the characteristics drawing newcomers — and, in turn, contributing to the ongoing displacement of primarily Latino families who have resided in the area for decades. (Gonzalez himself was priced out and now lives in San Bruno.) The vibrant visibility of the murals makes them simultaneously empowering and co-optable. Capturing them in a coffee table book only adds another layer of vulnerability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em>, however, isn’t some anthropological catalogue. The brightly saturated hardcover book offers close-ups of artistry in the murals as well as more contextual shots of the paintings’ true use as backdrop to urban life. In many, pedestrians walk through the frame, their sneakers and jackets adding pops of color that juxtapose the palettes of the walls. Meanwhile, fruit markets, restaurant signs, and events such as Carnivale offer their own kind of color.\u003c/p>\n\u003cfigure id=\"attachment_12928946\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-7.jpg\" alt='\"Puebla Mexico Takeout\" sign photographed by Dick Evans. ' width=\"720\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-520x780.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘Puebla Mexico Takeout’ sign photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mission\u003c/em> is not Evans’ first photography book. In 2011, he published \u003cem>San Francisco and the Bay Area: The Haight-Ashbury Edition\u003c/em>, which focused on murals along San Francisco’s famous Haight Street. But, as soon as he began \u003cem>Mission\u003c/em>, he realized this book would be much more complicated. “The murals in the Mission are inherently much more political,” he says.\u003c/p>\n\u003cp>He also decided early on that he wanted to use the project to raise funds for a local institution. The obvious choice was Precita Eyes, a long-running community-based mural organization that’s key to the area’s heart and soul. Profits from the book will support the organization.\u003c/p>\n\u003cp>A close look at the murals of the Mission also offers a visualized social history of the area. Evans’ book begins with a portrait of Ohlone descendant and writer Vincent Medina in front of “Mission Dolores Mural,” a public recreation of the mural that sits behind the altar in the famous Mission Dolores, originally painted by Ohlone artists during the late 18th century. In the time since Evans took the photo, the mural was torn down due to fire damage on the building.\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em> goes on to include murals painted in protest of U.S. involvement in Central American civil wars in the 1970s, murals demanding justice for laborers and all people of color, Black Panther murals, LGBTQ-centric murals, anti-police brutality murals, and murals about gentrification.\u003c/p>\n\u003cfigure id=\"attachment_12928945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg\" alt='\"St Francis: Past, Present, and Future\" by Daniel P. Doherty, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘St Francis: Past, Present, and Future’ by Daniel P. Doherty, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But rather than offering historical background for the paintings, \u003cem>Mission\u003c/em> is instead punctuated with poems, statements, and interview excerpts from artists, activists, and residents who call the neighborhood home. These were collected by muralist and tenant’s rights activist Carla Wojczuk, whom Precita Eyes co-founder Susan Cervantes asked to act as a community liaison for the project. Wojczuk says the inclusions are important because they ensure the book is not only “for the community, but also by the community.”\u003c/p>\n\u003cfigure id=\"attachment_12928941\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-4.jpg\" alt=\""La Llorona's Sacred Waters" by Juana Alicia Araiza photographed by Dick Evans. \" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘La Llorona’s Sacred Waters’ by Juana Alicia Araiza, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those elongated captions are many statements by artist Juana Alicia, who painted \u003cem>La Llorona’s Sacred Waters\u003c/em> on York and 24th Streets — a dynamic narrative rendered in blue and red that’s one of the most admired murals in the Mission today. “Every time I emerge from the guts of the 24th Street BART Station, with its tamale vendors, sidewalk musicians, drunks, junkies, bible-thumpers, hipsters on their way to Noe Valley or their new Mission condos, and political organizers, I feel reborn, like I have arrived,” reads one of Alicia’s contributions. “It’s the same way I feel in the Zócalo in Mexico City, where 500 years of history are on decade-by-decade display. I am mesmerized and absorbed, and could draw there for days at a time.”\u003c/p>\n\u003cp>In his photographer’s statement, Evans writes that he intentionally aimed not to politicize any of the content in the book or the cultural shifts in the area. Simply, the goal was to document and let the images speak for themselves. That decision is largely what makes the collection interesting — because it leaves room for all the slippery and chaotic cultural collisions that make the Mission what it is today.\u003c/p>\n\u003cfigure id=\"attachment_12928944\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg\" alt='\"La Flor de la Vida\" by Elaine Chu and Marina Perez-Wong photographed by Dick Evans. ' width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-768x940.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1020x1248.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1180x1444.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-960x1174.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-375x459.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-520x636.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Flor de la Vida’ by Elaine Chu and Marina Perez-Wong, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than the typical dry opener one might expect, \u003cem>Mission\u003c/em> begins with a gorgeous poem by U.S. poet laureate Juan Felipe Herrera — who is Mission-raised. Then comes the introduction, a personal essay by Wojczuk that ultimately does offer some radically upfront political positioning that one might only find in a coffee table book published by Berkeley’s conscientious Heyday Books.\u003c/p>\n\u003cp>“The Mission is tangled in myriad strands of history, but the purpose of this book is not to offer up an archeological or architectural scavenger hunt,” writes Wojczuk. “The demographics of the Mission are changing rapidly and often traumatically, but we are not here to fetishize a settler/colonial mentality, nor do we attempt to satisfy progressive dying-culture savior mentalities.\u003c/p>\n\u003cp>“This is a record of a history that lies in the present: contested, dynamic, and made by many forces.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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