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"content": "\u003cp>A Great Depression-era mural depicting George Washington as a slave owner and promoter of the United States’ genocidal westward expansion is the latest public artwork to draw controversy in San Francisco.\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>, a 13-panel fresco by Russian-born painter Victor Arnautoff, has greeted visitors to the lobby of George Washington High School in the Outer Richmond district since 1936. Now it’s complicating a nationwide referendum on public monuments to past exploitation.\u003c/p>\n\u003cp>Two panels of the Works Progress Administration-funded mural are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another, the country’s first president directs white men with guns westward, over the body of an apparently slain Native American. Artaunoff, a committed communist, intended the artwork as a corrective rebuke to the United States’ origin story.\u003c/p>\n\u003cp>Opponents of the mural, including the school board president and students, say it offensively shows oppressed minorities in an undignified light. Their criticism echoes activists’ \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">successful call\u003c/a> last year to remove “Early Days,” a statue depicting a Native American kneeling beneath a Spanish colonizer, from the \u003cem>Pioneer Monument\u003c/em> sculptural group near San Francisco City Hall.\u003c/p>\n\u003cp>But supporters of the mural, including the George Washington High School Alumni Association and art scholars and critics, argue that \u003cem>Life of Washington\u003c/em> clearly critiques, instead of glorifies, colonization and racism. Arnautoff’s “daring murals,” \u003ca href=\"https://livingnewdeal.org/new-deal-murals-spur-controversy/\">wrote\u003c/a> New Deal scholar Gray Brechin, “depict the father of our country as also being the father of a genocide later claimed by the victors as Manifest Destiny.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brechin noted that Anton Refregier, another Russian-born leftist painter, received intense pushback for his relatively tame handling of similar themes in his Rincon Annex Post Office mural. \u003cem>Life of Washington\u003c/em> is “so contrary to the national mythology of the time that I have often wondered how the artist got away with such criticism in a public place,” Brechin wrote.\u003c/p>\n\u003cfigure id=\"attachment_13854564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students at George Washington, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Offensive-or-important-Debate-flares-anew-over-13748800.php\">speaking\u003c/a> to the \u003cem>San Francisco Chronicle\u003c/em>, criticized the imagery as unavoidable and distressing, regardless of the artist’s intentions. San Francisco Board of Education President Stevon Cook has asked the superintendent to determine the cost of removing \u003cem>Life of Washington\u003c/em> by the end of the school year in May.\u003c/p>\n\u003cp>Officials have also proposed changing the name of George Washington High School. Last year the school board cited the two panels in its rejection of a proposal to pursue landmark status for the building. The board then convened an 11-person “Reflection and Action Panel,” which recommended painting over or otherwise removing the entire mural.\u003c/p>\n\u003cp>Alumni association Vice President Lope Yap Jr., a Marin filmmaker and 1970 graduate, was a dissenting panelist. He said he sympathizes with students who have a “viscerally negative” reaction to the mural, but supports an alternative that obscures the disturbing panels.\u003c/p>\n\u003cp>“I’m not trying to criticize anyone’s emotional pain,” he said. “Where we part is the recommendation to whitewash or permanently remove the murals.”\u003c/p>\n\u003cp>Yap Jr. and the alumni association instead \u003ca href=\"https://sfrichmondreview.com/2019/03/29/george-washington-high-school-alumni-oppose-censoring-controversial-murals/\">propose\u003c/a> installing screening over the two panels “to prevent inadvertent viewing,” placing didactic plaques to clarify the artist’s intent, and complementing \u003cem>Life of Washington\u003c/em> with new, prominently installed murals positively depicting Native Americans.\u003c/p>\n\u003cp>In a statement, the alumni association called \u003cem>Life of Washington\u003c/em> a “radical and critical” artwork. “There are many New Deal murals depicting the founding of our country; very few even acknowledge slavery or the Native genocide. The Arnautoff murals should be preserved for their artistic, historical, and educational value.”\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>‘s depiction of black people as slaves has long been controversial. In the 1960s, students pressured the school district to commission new murals by the black painter Dewey Crumpler; his \u003cem>Multi-Ethnic Heritage: Black, Asian, Native/Latin American\u003c/em> works, completed in 1974, show empowered minority figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arnautoff, who studied under Diego Rivera, also contributed artwork to the lobby of Coit Tower and several post offices in California. He was a Stanford University art professor from 1938-1962. In 1955, the House Un-American Activities Committee unsuccessfully sought to oust him from the teaching post because of his communist political beliefs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Great Depression-era mural depicting George Washington as a slave owner and promoter of the United States’ genocidal westward expansion is the latest public artwork to draw controversy in San Francisco.\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>, a 13-panel fresco by Russian-born painter Victor Arnautoff, has greeted visitors to the lobby of George Washington High School in the Outer Richmond district since 1936. Now it’s complicating a nationwide referendum on public monuments to past exploitation.\u003c/p>\n\u003cp>Two panels of the Works Progress Administration-funded mural are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another, the country’s first president directs white men with guns westward, over the body of an apparently slain Native American. Artaunoff, a committed communist, intended the artwork as a corrective rebuke to the United States’ origin story.\u003c/p>\n\u003cp>Opponents of the mural, including the school board president and students, say it offensively shows oppressed minorities in an undignified light. Their criticism echoes activists’ \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">successful call\u003c/a> last year to remove “Early Days,” a statue depicting a Native American kneeling beneath a Spanish colonizer, from the \u003cem>Pioneer Monument\u003c/em> sculptural group near San Francisco City Hall.\u003c/p>\n\u003cp>But supporters of the mural, including the George Washington High School Alumni Association and art scholars and critics, argue that \u003cem>Life of Washington\u003c/em> clearly critiques, instead of glorifies, colonization and racism. Arnautoff’s “daring murals,” \u003ca href=\"https://livingnewdeal.org/new-deal-murals-spur-controversy/\">wrote\u003c/a> New Deal scholar Gray Brechin, “depict the father of our country as also being the father of a genocide later claimed by the victors as Manifest Destiny.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brechin noted that Anton Refregier, another Russian-born leftist painter, received intense pushback for his relatively tame handling of similar themes in his Rincon Annex Post Office mural. \u003cem>Life of Washington\u003c/em> is “so contrary to the national mythology of the time that I have often wondered how the artist got away with such criticism in a public place,” Brechin wrote.\u003c/p>\n\u003cfigure id=\"attachment_13854564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students at George Washington, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Offensive-or-important-Debate-flares-anew-over-13748800.php\">speaking\u003c/a> to the \u003cem>San Francisco Chronicle\u003c/em>, criticized the imagery as unavoidable and distressing, regardless of the artist’s intentions. San Francisco Board of Education President Stevon Cook has asked the superintendent to determine the cost of removing \u003cem>Life of Washington\u003c/em> by the end of the school year in May.\u003c/p>\n\u003cp>Officials have also proposed changing the name of George Washington High School. Last year the school board cited the two panels in its rejection of a proposal to pursue landmark status for the building. The board then convened an 11-person “Reflection and Action Panel,” which recommended painting over or otherwise removing the entire mural.\u003c/p>\n\u003cp>Alumni association Vice President Lope Yap Jr., a Marin filmmaker and 1970 graduate, was a dissenting panelist. He said he sympathizes with students who have a “viscerally negative” reaction to the mural, but supports an alternative that obscures the disturbing panels.\u003c/p>\n\u003cp>“I’m not trying to criticize anyone’s emotional pain,” he said. “Where we part is the recommendation to whitewash or permanently remove the murals.”\u003c/p>\n\u003cp>Yap Jr. and the alumni association instead \u003ca href=\"https://sfrichmondreview.com/2019/03/29/george-washington-high-school-alumni-oppose-censoring-controversial-murals/\">propose\u003c/a> installing screening over the two panels “to prevent inadvertent viewing,” placing didactic plaques to clarify the artist’s intent, and complementing \u003cem>Life of Washington\u003c/em> with new, prominently installed murals positively depicting Native Americans.\u003c/p>\n\u003cp>In a statement, the alumni association called \u003cem>Life of Washington\u003c/em> a “radical and critical” artwork. “There are many New Deal murals depicting the founding of our country; very few even acknowledge slavery or the Native genocide. The Arnautoff murals should be preserved for their artistic, historical, and educational value.”\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>‘s depiction of black people as slaves has long been controversial. In the 1960s, students pressured the school district to commission new murals by the black painter Dewey Crumpler; his \u003cem>Multi-Ethnic Heritage: Black, Asian, Native/Latin American\u003c/em> works, completed in 1974, show empowered minority figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arnautoff, who studied under Diego Rivera, also contributed artwork to the lobby of Coit Tower and several post offices in California. He was a Stanford University art professor from 1938-1962. In 1955, the House Un-American Activities Committee unsuccessfully sought to oust him from the teaching post because of his communist political beliefs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium?",
"headTitle": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium? | KQED",
"content": "\u003cp>Tonight, the San Francisco Arts Commission will \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">flip the switch\u003c/a> on a large-scale neon artwork covering the western side of the Bill Graham Civic Auditorium. For anyone passing by Polk Street between Hayes and Grove, what was once a blank brick facade (interrupted by two utilitarian exterior stairways) now features Joseph Kosuth’s \u003ci>W.F.T. (San Francisco)\u003c/i>, a glowing map of the words “civic,” “auditorium,” and their etymological origins.\u003c/p>\n\u003cp>Ever at your service, let me answer some of your basic burning questions about this new bit of public art.\u003c/p>\n\u003cp>\u003cb>Who is this Joseph Kosuth guy?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://origin.www.skny.com/artists/joseph-kosuth\" rel=\"noopener\" target=\"_blank\">Joseph Kosuth\u003c/a> is an American-born conceptual artist who currently splits his time between Rome and New York City. He rose to prominence in the New York scene of the 1960s, first as a student at the School of Visual Arts, then as a faculty member at the age of 22. And while his career has only grown since then (he’s participated in four different \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" rel=\"noopener\" target=\"_blank\">documenta\u003c/a>\u003c/i> exhibitions and three different Venice Biennales), he is perhaps best known for his early forays into the relationship between language and meaning. \u003c/p>\n\u003cp>[aside postID=\"arts_13832983,arts_13843006,news_11638989\" label=\"Related Coverage\"]\u003c/p>\n\u003cp>The Kosuth piece everyone and their cousin learns about in Contemporary Art History 101 is called \u003ci>\u003ca href=\"https://www.moma.org/collection/works/81435\" rel=\"noopener\" target=\"_blank\">One and Three Chairs\u003c/a>\u003c/i>, a presentation of one chair three different ways: actual chair, a photograph of the chair and a copy of the dictionary entry for the word “chair.” Object, image and language. \u003c/p>\n\u003cp>Trust me, when you’re a 20-year-old art student (the same age Kosuth was when he put this piece together), \u003ci>One and Three Chairs\u003c/i> blows your mind. \u003c/p>\n\u003cp>Fast forward to 2019 and Kosuth is 74, still producing work—including plenty of public art—that addresses the basic concerns he raised in his college years. How does art create meaning? And how does language shape the world?\u003c/p>\n\u003cp>\u003cb>Cool, but what does it \u003ci>mean\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>First off, \u003ci>W.F.T.\u003c/i> is not, as my brain keeps telling me, a typo of \u003ci>W.T.F.\u003c/i> \u003c/p>\n\u003cp>It stands for “Word Family Tree,” a style of mapping words and their etymologies that Kosuth has used for a number of years. Tracing the word “civic” back to its roots, we learn it comes from \u003ci>civicus\u003c/i>, Latin for “of the community.” But it is also related to an Old English word for “family” and an Old High German word for “married couple.”\u003c/p>\n\u003cfigure id=\"attachment_13852810\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg\" alt=\"Detail of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"640\" height=\"960\" class=\"size-full wp-image-13852810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640-160x240.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, the SFAC would like to point to Civic Center (specifically City Hall) as a site pivotal to the history of same-sex marriage. Also: a Latin word for “civil” is another another “civic” precursor.\u003c/p>\n\u003cp>Whether or not audiences take the extra leap to connect \u003ci>W.F.T.\u003c/i> to San Francisco’s LGBT and Civil Rights movements is debatable, but Kosuth isn’t averse to a historical reading. “The basis of this project is language itself,” he says. “It is a work that is both a reflection on its own construction as well as on the history and culture of its own location.”\u003c/p>\n\u003cp>On the “auditorium” side of things, there’s a Latin word for that: \u003ci>auditorium\u003c/i>. It means, “place for hearing,” but it’s also linked to a Greek word for “perceive” and a Proto-Indo-European word for “make clear.”\u003c/p>\n\u003cp>But don’t take my word for it, all of this is spelled out, literally, in white neon. \u003c/p>\n\u003cp>\u003cb>Why is this art here, now?\u003c/b>\u003c/p>\n\u003cp>The installation is a product of the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-guidelines\" rel=\"noopener\" target=\"_blank\">Public Art Trust\u003c/a>, an initiative launched by the SFAC in 2012 that provides an alternative destination for downtown developers’ 1%-for-art funds. Developers can either \u003ca href=\"https://www.kqed.org/arts/11671203/new-92-foot-statue-tallest-in-the-city-unveiled-in-downtown-san-francisco\" rel=\"noopener\" target=\"_blank\">place artwork on-site\u003c/a> (provided it’s publicly accessible), or they can deposit their requirement into the Public Art Trust, where it can be used to commission temporary art projects, fund capital improvements for nonprofit arts organizations, pay for restorations within the Civic Art Collection, or, in the case of Kosuth’s neon, pay for a new piece of permanent public art on a city-owned site.\u003c/p>\n\u003cp>This is the very first piece of public art to come out of the Public Art Trust endeavor. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>So who paid for it?\u003c/b>\u003c/p>\n\u003cp>The developer footing the bill is Emerald Fund, a San Francisco-based company. Emerald Fund is responsible for two nearby residential buildings, \u003ca href=\"http://thecivicsf.com/\" rel=\"noopener\" target=\"_blank\">The Civic\u003c/a> (tagline: “The City at Your Doorstep”) and \u003ca href=\"https://150vanness.com/\" rel=\"noopener\" target=\"_blank\">150 Van Ness\u003c/a> (“Experience it all”), both of which contain units with views of Bill Graham Civic Auditorium’s western side.\u003c/p>\n\u003cp>And before you ask, the total project budget was $1,200,000.\u003c/p>\n\u003cfigure id=\"attachment_13852811\" 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/joseph-kosuth-wft-san-francisco_1200.jpg\" alt=\"Daytime view of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13852811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Daytime view of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Whoa. Neon!\u003c/b>\u003c/p>\n\u003cp>Right? We’re all in the wrong business. The tubes were fabricated by a venerable company named \u003ca href=\"http://www.neonlauro.it/\" rel=\"noopener\" target=\"_blank\">Neonlauro\u003c/a> just outside of Venice, Italy. Kosuth has worked with them before on a number of gallery and public art projects. \u003c/p>\n\u003cp>And this sucker is big—bigger actually, than the whole block. The SFAC says as far as they know, this is largest public display of neon in the city (someone might be hoarding a huge private cache of neon somewhere, but I’m feeling good about our chances on this one). \u003c/p>\n\u003cp>Bonus info, for those who (rightfully) care about this kind of thing: The tubes are attached through the mortar to prevent damage to the auditorium’s historic brick cladding. (The Historic Preservation Commission signed off on the project, never fear.)\u003c/p>\n\u003cp>\u003cb>When can I see it?\u003c/b> \u003c/p>\n\u003cp>After the \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">March 13, 6pm lighting ceremony\u003c/a>, the neon will be on from 6am to 11pm every day of the gosh darn week.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "A new piece of privately funded public art lights up the Civic Center neighborhood with work by Joseph Kosuth.",
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"title": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tonight, the San Francisco Arts Commission will \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">flip the switch\u003c/a> on a large-scale neon artwork covering the western side of the Bill Graham Civic Auditorium. For anyone passing by Polk Street between Hayes and Grove, what was once a blank brick facade (interrupted by two utilitarian exterior stairways) now features Joseph Kosuth’s \u003ci>W.F.T. (San Francisco)\u003c/i>, a glowing map of the words “civic,” “auditorium,” and their etymological origins.\u003c/p>\n\u003cp>Ever at your service, let me answer some of your basic burning questions about this new bit of public art.\u003c/p>\n\u003cp>\u003cb>Who is this Joseph Kosuth guy?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://origin.www.skny.com/artists/joseph-kosuth\" rel=\"noopener\" target=\"_blank\">Joseph Kosuth\u003c/a> is an American-born conceptual artist who currently splits his time between Rome and New York City. He rose to prominence in the New York scene of the 1960s, first as a student at the School of Visual Arts, then as a faculty member at the age of 22. And while his career has only grown since then (he’s participated in four different \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" rel=\"noopener\" target=\"_blank\">documenta\u003c/a>\u003c/i> exhibitions and three different Venice Biennales), he is perhaps best known for his early forays into the relationship between language and meaning. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Kosuth piece everyone and their cousin learns about in Contemporary Art History 101 is called \u003ci>\u003ca href=\"https://www.moma.org/collection/works/81435\" rel=\"noopener\" target=\"_blank\">One and Three Chairs\u003c/a>\u003c/i>, a presentation of one chair three different ways: actual chair, a photograph of the chair and a copy of the dictionary entry for the word “chair.” Object, image and language. \u003c/p>\n\u003cp>Trust me, when you’re a 20-year-old art student (the same age Kosuth was when he put this piece together), \u003ci>One and Three Chairs\u003c/i> blows your mind. \u003c/p>\n\u003cp>Fast forward to 2019 and Kosuth is 74, still producing work—including plenty of public art—that addresses the basic concerns he raised in his college years. How does art create meaning? And how does language shape the world?\u003c/p>\n\u003cp>\u003cb>Cool, but what does it \u003ci>mean\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>First off, \u003ci>W.F.T.\u003c/i> is not, as my brain keeps telling me, a typo of \u003ci>W.T.F.\u003c/i> \u003c/p>\n\u003cp>It stands for “Word Family Tree,” a style of mapping words and their etymologies that Kosuth has used for a number of years. Tracing the word “civic” back to its roots, we learn it comes from \u003ci>civicus\u003c/i>, Latin for “of the community.” But it is also related to an Old English word for “family” and an Old High German word for “married couple.”\u003c/p>\n\u003cfigure id=\"attachment_13852810\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg\" alt=\"Detail of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"640\" height=\"960\" class=\"size-full wp-image-13852810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640-160x240.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, the SFAC would like to point to Civic Center (specifically City Hall) as a site pivotal to the history of same-sex marriage. Also: a Latin word for “civil” is another another “civic” precursor.\u003c/p>\n\u003cp>Whether or not audiences take the extra leap to connect \u003ci>W.F.T.\u003c/i> to San Francisco’s LGBT and Civil Rights movements is debatable, but Kosuth isn’t averse to a historical reading. “The basis of this project is language itself,” he says. “It is a work that is both a reflection on its own construction as well as on the history and culture of its own location.”\u003c/p>\n\u003cp>On the “auditorium” side of things, there’s a Latin word for that: \u003ci>auditorium\u003c/i>. It means, “place for hearing,” but it’s also linked to a Greek word for “perceive” and a Proto-Indo-European word for “make clear.”\u003c/p>\n\u003cp>But don’t take my word for it, all of this is spelled out, literally, in white neon. \u003c/p>\n\u003cp>\u003cb>Why is this art here, now?\u003c/b>\u003c/p>\n\u003cp>The installation is a product of the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-guidelines\" rel=\"noopener\" target=\"_blank\">Public Art Trust\u003c/a>, an initiative launched by the SFAC in 2012 that provides an alternative destination for downtown developers’ 1%-for-art funds. Developers can either \u003ca href=\"https://www.kqed.org/arts/11671203/new-92-foot-statue-tallest-in-the-city-unveiled-in-downtown-san-francisco\" rel=\"noopener\" target=\"_blank\">place artwork on-site\u003c/a> (provided it’s publicly accessible), or they can deposit their requirement into the Public Art Trust, where it can be used to commission temporary art projects, fund capital improvements for nonprofit arts organizations, pay for restorations within the Civic Art Collection, or, in the case of Kosuth’s neon, pay for a new piece of permanent public art on a city-owned site.\u003c/p>\n\u003cp>This is the very first piece of public art to come out of the Public Art Trust endeavor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>So who paid for it?\u003c/b>\u003c/p>\n\u003cp>The developer footing the bill is Emerald Fund, a San Francisco-based company. Emerald Fund is responsible for two nearby residential buildings, \u003ca href=\"http://thecivicsf.com/\" rel=\"noopener\" target=\"_blank\">The Civic\u003c/a> (tagline: “The City at Your Doorstep”) and \u003ca href=\"https://150vanness.com/\" rel=\"noopener\" target=\"_blank\">150 Van Ness\u003c/a> (“Experience it all”), both of which contain units with views of Bill Graham Civic Auditorium’s western side.\u003c/p>\n\u003cp>And before you ask, the total project budget was $1,200,000.\u003c/p>\n\u003cfigure id=\"attachment_13852811\" 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/joseph-kosuth-wft-san-francisco_1200.jpg\" alt=\"Daytime view of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13852811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Daytime view of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Whoa. Neon!\u003c/b>\u003c/p>\n\u003cp>Right? We’re all in the wrong business. The tubes were fabricated by a venerable company named \u003ca href=\"http://www.neonlauro.it/\" rel=\"noopener\" target=\"_blank\">Neonlauro\u003c/a> just outside of Venice, Italy. Kosuth has worked with them before on a number of gallery and public art projects. \u003c/p>\n\u003cp>And this sucker is big—bigger actually, than the whole block. The SFAC says as far as they know, this is largest public display of neon in the city (someone might be hoarding a huge private cache of neon somewhere, but I’m feeling good about our chances on this one). \u003c/p>\n\u003cp>Bonus info, for those who (rightfully) care about this kind of thing: The tubes are attached through the mortar to prevent damage to the auditorium’s historic brick cladding. (The Historic Preservation Commission signed off on the project, never fear.)\u003c/p>\n\u003cp>\u003cb>When can I see it?\u003c/b> \u003c/p>\n\u003cp>After the \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">March 13, 6pm lighting ceremony\u003c/a>, the neon will be on from 6am to 11pm every day of the gosh darn week.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza?",
"headTitle": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza? | KQED",
"content": "\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n",
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"excerpt": "Chris Brown’s globetrotting field recordings begin a series of public sound-art installations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote",
"title": "'Early Days' Statue in SF, Deemed Racist, Will Be Removed Following Re-Vote",
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"headTitle": "‘Early Days’ Statue in SF, Deemed Racist, Will Be Removed Following Re-Vote | KQED",
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"content": "\u003cp>The San Francisco Board of Appeals voted Wednesday to allow the removal of a Civic Center Plaza statue deemed racist by activists, cultural organizations and much of the city’s political establishment. The decision rejects challenges from a North Bay attorney who likened its removal to burning books in Nazi Germany and “taking the lips off the Mona Lisa.” \u003c/p>\n\u003cp>The vote upheld decisions by the San Francisco Arts Commission and the Historic Preservation Commission to remove “Early Days,” a monument near City Hall depicting a vaquero and a missionary looming over a Native American. A didactic plaque will replace the statue, which is one part of the Pioneer Monument, a group of 19th century sculptures. “Early Days” will be placed in storage.\u003c/p>\n\u003cp>“The San Francisco Arts Commission can now move forward with the removal of this racist and disrespectful sculpture, which has no place in our city,” reads a statement from the agency.\u003c/p>\n\u003cp>“The Arts Commission heard the public outcry against the imagery represented in the ‘Early Days’ sculpture and took the appropriate steps to help rectify an historic injustice,” added Director of Cultural Affairs Tom DeCaigny. \u003c/p>\n\u003cp>Efforts to remove “Early Days,” which critics call degrading and historically inaccurate, began decades ago and renewed last year amid a national movement against Confederate statues and other racist monuments. “We should not have the statue in Civic Center any more than we should have a statue of Robert E. Lee,” former Mayor Ed Lee said in 2017. \u003c/p>\n\u003cfigure id=\"attachment_13840757\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"600\" height=\"800\" class=\"size-full wp-image-13840757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flyers headlined “TEAR DOWN WHITE SUPREMACY” invited locals to voice their objections at the hearing, and dozens of speakers, most of them Native American, decried the statue during public comment. They pointed out that it erroneously depicts a Plains Indian, and invoked the systematic genocide and cultural repression visited upon Native Americans by Europeans—a legacy they said the statue celebrates and carries forward. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m not asking you to destroy it,” said District 5 Supervisor Vallie Brown. “I’m asking you to take it and bury it somewhere deep in the basement where…no one has to see it.”\u003c/p>\n\u003cp>Stephen Schmid, an attorney in Petaluma, challenged the preservation commission’s decision, calling its removal “tantamount to destruction” at a Board of Appeals meeting in April. “We are not the Taliban,” he said. “We do not go and destroy ancient Buddhist temples.” The board at first voted to block the preservation commission’s decision, prompting outcry from then-Mayor Mark Farrell and the Board of Supervisors. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recent months, props and signs emphasizing the statue’s racist symbolism have appeared on “Early Days.” Currently red paint drips like blood from the title at its base. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Appeals voted Wednesday to allow the removal of a Civic Center Plaza statue deemed racist by activists, cultural organizations and much of the city’s political establishment. The decision rejects challenges from a North Bay attorney who likened its removal to burning books in Nazi Germany and “taking the lips off the Mona Lisa.” \u003c/p>\n\u003cp>The vote upheld decisions by the San Francisco Arts Commission and the Historic Preservation Commission to remove “Early Days,” a monument near City Hall depicting a vaquero and a missionary looming over a Native American. A didactic plaque will replace the statue, which is one part of the Pioneer Monument, a group of 19th century sculptures. “Early Days” will be placed in storage.\u003c/p>\n\u003cp>“The San Francisco Arts Commission can now move forward with the removal of this racist and disrespectful sculpture, which has no place in our city,” reads a statement from the agency.\u003c/p>\n\u003cp>“The Arts Commission heard the public outcry against the imagery represented in the ‘Early Days’ sculpture and took the appropriate steps to help rectify an historic injustice,” added Director of Cultural Affairs Tom DeCaigny. \u003c/p>\n\u003cp>Efforts to remove “Early Days,” which critics call degrading and historically inaccurate, began decades ago and renewed last year amid a national movement against Confederate statues and other racist monuments. “We should not have the statue in Civic Center any more than we should have a statue of Robert E. Lee,” former Mayor Ed Lee said in 2017. \u003c/p>\n\u003cfigure id=\"attachment_13840757\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"600\" height=\"800\" class=\"size-full wp-image-13840757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysFull-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flyers headlined “TEAR DOWN WHITE SUPREMACY” invited locals to voice their objections at the hearing, and dozens of speakers, most of them Native American, decried the statue during public comment. They pointed out that it erroneously depicts a Plains Indian, and invoked the systematic genocide and cultural repression visited upon Native Americans by Europeans—a legacy they said the statue celebrates and carries forward. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not asking you to destroy it,” said District 5 Supervisor Vallie Brown. “I’m asking you to take it and bury it somewhere deep in the basement where…no one has to see it.”\u003c/p>\n\u003cp>Stephen Schmid, an attorney in Petaluma, challenged the preservation commission’s decision, calling its removal “tantamount to destruction” at a Board of Appeals meeting in April. “We are not the Taliban,” he said. “We do not go and destroy ancient Buddhist temples.” The board at first voted to block the preservation commission’s decision, prompting outcry from then-Mayor Mark Farrell and the Board of Supervisors. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recent months, props and signs emphasizing the statue’s racist symbolism have appeared on “Early Days.” Currently red paint drips like blood from the title at its base. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13840187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-800x641.jpeg\" alt=\"An artist rendering of 'Fine Balance,' which involves bathtubs on stilts. \" width=\"800\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-240x192.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-375x300.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-520x417.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An artist rendering of ‘Fine Balance,’ which involves bathtubs on stilts. \u003ccite>(Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A 13-year effort to bring city-sponsored public art to Petaluma is encountering a small but vocal group of detractors in the North Bay, the \u003cem>Santa Rosa Press Democrat\u003c/em> first \u003ca href=\"https://www.pressdemocrat.com/news/8611300-181/petaluma-public-art-stirs-controversy\">reported\u003c/a>.\u003c/p>\n\u003cp>Petaluma’s Public Art Committee, created in 2005, commissioned \u003cem>Fine Balance\u003c/em> by San Francisco artist Brian Goggin using $150,000 in development fees earmarked for public art. The artist envisions five bathtubs on stilts near the Petaluma River on Water Street.\u003c/p>\n\u003cp>Goggin, a renowned sculptor \u003ca href=\"https://www.kqed.org/arts/12414388/meet-brian-goggin-gatekeeper-of-your-impossible-dreams\" rel=\"noopener\" target=\"_blank\">profiled by KQED Arts in 2016\u003c/a>, is known for San Francisco works including \u003cem>Defenestration\u003c/em>, which involved 45 pieces of furniture crawling along the exterior of a former tenement on Sixth Street; and \u003cem>Caruso’s Dream\u003c/em>, a sculptural canopy of pianos made from reclaimed factory windows and suspended above Ninth Street.\u003c/p>\n\u003cp>At approximately 20 feet tall, \u003cem>Fine Balance \u003c/em>is a similarly surreal, large-scale sculpture that the artist says references the adjacent river’s Gold Rush-era history of bathtub importing. Solar-powered LED lights will illuminate the waterfront sculptures at night.\u003c/p>\n\u003cp>“The image of a heavy object defying gravity relates to the uniqueness of Petaluma as both a counter-cultural beacon and a traditional base,” reads Goggin’s description of the work. “\u003cem>Fine Balance\u003c/em> refers to the agility required to navigate these times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Qj945eLSUttDFlXXwxWOje0wHbQHTEOv”]\u003c/p>\n\u003cp>To opposition leader Scott Andrews, however, Goggin’s proposal for Petaluma is a serious affront. Andrews, a local engineering consultant, has raised more than $3,000 on \u003ca href=\"https://www.gofundme.com/citicitizens-against-tubs-on-stilts\">GoFundMe\u003c/a> to oppose the artwork. The description calls \u003cem>Fine Balance\u003c/em> inappropriate for the location, unrelated to Petaluma, derivative of Salvador Dalí and the stilted Walkers from \u003cem>Star Wars\u003c/em>, a public health hazard, and an impediment to disabled citizens.\u003c/p>\n\u003cp>“The people raising a ruckus, it’s a small segment,” said Public Art Committee member and longtime North Bay arts figure Katherine Plank, adding that it’s unlikely to halt the project. “Those of us involved in the arts have been taken aback by the pushback,” she continued. “At first I thought, ‘Great, people care.’ Now I’m not sure.”\u003c/p>\n\u003cp>In November, a “spatial representation” of the sculptures will be installed as a preview of the piece, and Plank said \u003cem>Fine Balance\u003c/em> is tentatively expected to be completed by next August. “We’ve followed the letter of the law, and the majority of the city council said move ahead,” Plank said. “There is no other vote.”\u003c/p>\n\u003cp>Andrews, whose campaign seeks $5,000, said he’s considering using the money for an “ADA-style lawsuit,” and expressed his willingness to fight the art for the next 10 years.\u003c/p>\n\u003cp>Opponents of the artwork also include the Petaluma Valley Rotary club, which co-organizes the annual Petaluma River Craft Beer Festival on the Water Street site. Rotarians told the \u003cem>Press Democrat\u003c/em> the sculpture could displace 12 of 36 vendor booths, practically ending the festival.\u003c/p>\n\u003cp>But Plank called their concerns unfounded. “There’s no way they can know that,” she said. “Maybe they won’t put a booth where they did in the past, but those numbers are pulled out of thin air.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Petaluma Public Art Committee issued a request for qualifications in 2014 and, in light of uninspiring applicants, another one in 2016. Goggin was chosen from a pool of 65, beating out Petaluma resident and Burning Man-associated sculptor David Best.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13840187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-800x641.jpeg\" alt=\"An artist rendering of 'Fine Balance,' which involves bathtubs on stilts. \" width=\"800\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-240x192.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-375x300.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Brian-Goggin-Fine-Balance-Artist-Rendering-520x417.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An artist rendering of ‘Fine Balance,’ which involves bathtubs on stilts. \u003ccite>(Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A 13-year effort to bring city-sponsored public art to Petaluma is encountering a small but vocal group of detractors in the North Bay, the \u003cem>Santa Rosa Press Democrat\u003c/em> first \u003ca href=\"https://www.pressdemocrat.com/news/8611300-181/petaluma-public-art-stirs-controversy\">reported\u003c/a>.\u003c/p>\n\u003cp>Petaluma’s Public Art Committee, created in 2005, commissioned \u003cem>Fine Balance\u003c/em> by San Francisco artist Brian Goggin using $150,000 in development fees earmarked for public art. The artist envisions five bathtubs on stilts near the Petaluma River on Water Street.\u003c/p>\n\u003cp>Goggin, a renowned sculptor \u003ca href=\"https://www.kqed.org/arts/12414388/meet-brian-goggin-gatekeeper-of-your-impossible-dreams\" rel=\"noopener\" target=\"_blank\">profiled by KQED Arts in 2016\u003c/a>, is known for San Francisco works including \u003cem>Defenestration\u003c/em>, which involved 45 pieces of furniture crawling along the exterior of a former tenement on Sixth Street; and \u003cem>Caruso’s Dream\u003c/em>, a sculptural canopy of pianos made from reclaimed factory windows and suspended above Ninth Street.\u003c/p>\n\u003cp>At approximately 20 feet tall, \u003cem>Fine Balance \u003c/em>is a similarly surreal, large-scale sculpture that the artist says references the adjacent river’s Gold Rush-era history of bathtub importing. Solar-powered LED lights will illuminate the waterfront sculptures at night.\u003c/p>\n\u003cp>“The image of a heavy object defying gravity relates to the uniqueness of Petaluma as both a counter-cultural beacon and a traditional base,” reads Goggin’s description of the work. “\u003cem>Fine Balance\u003c/em> refers to the agility required to navigate these times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To opposition leader Scott Andrews, however, Goggin’s proposal for Petaluma is a serious affront. Andrews, a local engineering consultant, has raised more than $3,000 on \u003ca href=\"https://www.gofundme.com/citicitizens-against-tubs-on-stilts\">GoFundMe\u003c/a> to oppose the artwork. The description calls \u003cem>Fine Balance\u003c/em> inappropriate for the location, unrelated to Petaluma, derivative of Salvador Dalí and the stilted Walkers from \u003cem>Star Wars\u003c/em>, a public health hazard, and an impediment to disabled citizens.\u003c/p>\n\u003cp>“The people raising a ruckus, it’s a small segment,” said Public Art Committee member and longtime North Bay arts figure Katherine Plank, adding that it’s unlikely to halt the project. “Those of us involved in the arts have been taken aback by the pushback,” she continued. “At first I thought, ‘Great, people care.’ Now I’m not sure.”\u003c/p>\n\u003cp>In November, a “spatial representation” of the sculptures will be installed as a preview of the piece, and Plank said \u003cem>Fine Balance\u003c/em> is tentatively expected to be completed by next August. “We’ve followed the letter of the law, and the majority of the city council said move ahead,” Plank said. “There is no other vote.”\u003c/p>\n\u003cp>Andrews, whose campaign seeks $5,000, said he’s considering using the money for an “ADA-style lawsuit,” and expressed his willingness to fight the art for the next 10 years.\u003c/p>\n\u003cp>Opponents of the artwork also include the Petaluma Valley Rotary club, which co-organizes the annual Petaluma River Craft Beer Festival on the Water Street site. Rotarians told the \u003cem>Press Democrat\u003c/em> the sculpture could displace 12 of 36 vendor booths, practically ending the festival.\u003c/p>\n\u003cp>But Plank called their concerns unfounded. “There’s no way they can know that,” she said. “Maybe they won’t put a booth where they did in the past, but those numbers are pulled out of thin air.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Petaluma Public Art Committee issued a request for qualifications in 2014 and, in light of uninspiring applicants, another one in 2016. Goggin was chosen from a pool of 65, beating out Petaluma resident and Burning Man-associated sculptor David Best.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nine-new-murals-to-see-in-oakland-this-summer",
"title": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1RyJwtH-ua5rYKrDET0kKYSXgdfhyMUZ1\" width=\"640\" height=\"480\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Thanks to the Oakland Mural Fest, the Town now has even more public art to purview.",
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"title": "Nine New Murals To See in Oakland This Summer | KQED",
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"headline": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BY3zCMuDZ9r/\u003c/p>\n\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\n\u003cp>https://www.instagram.com/p/BqxugAhHGmU/\u003c/p>\n\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\n\u003cp>https://www.instagram.com/p/BbfsUhTBoMZ/\u003c/p>\n\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bx3FnWOIh3A/\u003c/p>\n\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\n\u003cp>https://www.instagram.com/p/ti30yuwa0J/\u003c/p>\n\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bi52uVQH198/\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13824746/young-oakland-superheroes-fight-for-their-mural\">Oakland heroes\u003c/a> and \u003ca href=\"https://localwiki.org/oakland/Girl_Mobb_Super_Wall\" target=\"_blank\" rel=\"noopener\">heroines\u003c/a> emerge from under overpasses and brighten concrete corners of The Town. Themes of representation, resistance and beauty can be found spanning across sidewalks all over Oakland, providing momentary respite from the realities of its \u003ca href=\"http://www.governing.com/gov-data/oakland-gentrification-maps-demographic-data.html\" target=\"_blank\" rel=\"noopener\">ongoing gentrification\u003c/a>. Spend an afternoon perusing the (arguably) \u003ca href=\"https://localwiki.org/oakland/Murals\">largest list of Oakland’s street art\u003c/a> maintained by Oakland Wiki, or take a walking tour of some of Oakland’s newest murals by featuring the work of \u003ca href=\"http://lospobresartistas.com/\" target=\"_blank\" rel=\"noopener\">Los Pobres Artistas\u003c/a>, \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle\u003c/a>, \u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> Creators Gone Create and \u003ca href=\"http://bamfest.org/home#fundraiser\" target=\"_blank\" rel=\"noopener\">others\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>di Rosa’s Sculpture Garden\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BZZUbJuneyA/\u003c/p>\n\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The top of the Salesforce Tower has some weird things going on—you might have noticed. Here, I preempt some of the questions you might have about San Francisco-based artist \u003ca href=\"http://www.jimcampbell.tv/\" rel=\"noopener\" target=\"_blank\">Jim Campbell\u003c/a>’s installation atop the building, which begins its illuminated life Tuesday night, May 22.\u003c/p>\n\u003cp>\u003cb>What is going on?\u003c/b>\u003c/p>\n\u003cp>Okay, so there’s this thing called the internet. It facilitates this other thing called cloud computing. And Salesforce is one of the biggest cloud computing companies in the U.S.; the author of a customer relationship management (CRM) product that inspires fervent fandom. If you don’t work in the world of CRM-facilitated customer relationships, you may know them better for their annual impact upon San Francisco’s hotel bookings: Dreamforce, \u003ca href=\"http://www.businessinsider.com/salesforces-dreamboat-for-dreamforce-2015-9\" rel=\"noopener\" target=\"_blank\">the conference that filled a thousand ships\u003c/a>.\u003c/p>\n\u003cp>\u003cb>No, what’s going on with the lights on the tower?\u003c/b>\u003c/p>\n\u003cp>I was getting there. Patience. On April 11, 2014, Salesforce signed a lease for roughly half of the 1.4 million square feet in what was previously known as the Transbay Tower, thereby attaching their name to the tallest building in San Francisco. The structure’s top nine floors are unoccupied by people, but the upper six are covered in art; Jim Campbell’s \u003ci>Day for Night\u003c/i>, made up of over 100 aluminum panels and 11,000 LEDs, is a 100-foot-tall circular screen.\u003c/p>\n\u003cfigure id=\"attachment_13832986\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13832986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Okay, so what will I see?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m so glad you asked. Initial tests and interviews with Campbell point to an ever-changing video diary of life in San Francisco. At night, daily footage culled from video cameras placed throughout the city (at Ocean Beach, Golden Gate Park, Market Street, Embarcadero, maybe even the dump) encircle the tower and project softly into the night. Some educated guesses at the imagery: bodies in motion (swimming, running, dancing), puffy clouds, flapping birds, crashing waves and waving leaves. \u003c/p>\n\u003cp>\u003cb>Is it out of focus?\u003c/b>\u003c/p>\n\u003cp>Yes, but it’s supposed to be. Campbell’s known for reducing images down to their constituent parts: pixels. He has a longtime interest in what can be gleaned from the smallest amount of information possible. \u003c/p>\n\u003cp>“If you take away all of the details of an image, is there anything useful from an experience of looking at something that’s low resolution?” he said in a \u003ca href=\"https://www.kqed.org/arts/11086747/watch-jim-campbells-led-images-swimming-through-space\" rel=\"noopener\" target=\"_blank\">2015 interview with KQED Arts\u003c/a>. “Is there some sort of essence that can be found in taking an image and getting rid of most of the information?” I call it hi-tech lo-res. \u003c/p>\n\u003cp>In \u003ci>Day for Night\u003c/i>, the thousands of LEDs point back towards the building itself, to be reflected out into the city (and visible for up to 20 miles) via the perforated aluminum panels that cover the tower’s crown. Instead of a high resolution bombardment you might find in Hong Kong, Times Square or \u003ci>Blade Runner 2049\u003c/i>, Campbell aims for a subtle and more meditative report on the daily movements of people, wind and waves. \u003c/p>\n\u003cfigure id=\"attachment_13833038\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg\" alt=\"Jim Campbell, 'Tilted Plane,' 2011. \" width=\"850\" height=\"567\" class=\"size-full wp-image-13833038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-520x347.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell, ‘Tilted Plane,’ 2011. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sounds cool. How can I see more Jim Campbell up close?\u003c/b>\u003c/p>\n\u003cp>By happy coincidence (there’s no such thing as coincidences), the seventh floor of SFMOMA currently boasts the Campbell installation \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jim-campbell-tilted-plane/\" rel=\"noopener\" target=\"_blank\">Tilted Plane\u003c/a>\u003c/i>, a truly disorienting grid of suspended lightbulbs. As your eyes adjust to the array, you may be able to discern a moving image amid the flickering bulbs—that of birds in flight. May I suggest, for those not squeamish about such things, laying on the carpeted floor to look up at the art.\u003c/p>\n\u003cp>\u003cb>How long will the tower thingy be up?\u003c/b>\u003c/p>\n\u003cp>It’s permanent. So… as long as the Salesforce Tower stands.\u003c/p>\n\u003cp>\u003cb>Who paid for it?\u003c/b>\u003c/p>\n\u003cp>Long story short: the Salesforce Tower developers, companies called Hines and Boston Properties. \u003c/p>\n\u003cp>San Francisco has a “\u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/public-art\" rel=\"noopener\" target=\"_blank\">1%-for-art program\u003c/a>” which requires large downtown projects to display or commission public art in an amount that equals at least one percent of the total construction cost.\u003c/p>\n\u003cp>Developers can handle the process of buying or commissioning works themselves (like the \u003ca href=\"https://www.kqed.org/arts/10943416/below-market-rate-housing-gets-high-end-sol-lewitt-artwork\" rel=\"noopener\" target=\"_blank\">Sol LeWitt at the corner of 10th and Mission\u003c/a>), or dedicate a portion of their one percent to the city’s Public Art Trust, which directs those funds to projects like temporary public art programming (say, a dance festival) or maintaining the Civic Art Collection. \u003c/p>\n\u003cp>Boston Properties and Hines selected \u003ci>Day for Night\u003c/i> on their own (with help from a curatorial panel), without involving the San Francisco Public Art Commission (SFAC), which means Campbell didn’t go through a public review or any of the many steps involved in making new work for the SFAC. The piece did, however, appear before the San Francisco Planning Commission as courtesy. \u003ca href=\"http://commissions.sfplanning.org/cpcpackets/2012.0257EBX.pdf\" rel=\"noopener\" target=\"_blank\">Documents submitted to the commission\u003c/a> state Boston Properties spent, as of April 2017, approximately $4.5 million on the art installation, with another $1 million expected to complete the project, equaling about 1.66 percent of the total construction cost.\u003c/p>\n\u003cfigure id=\"attachment_13832987\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How long before someone finds the hidden cameras around the city and ruins this for everyone?\u003c/b>\u003c/p>\n\u003cp>Since Campbell’s studio plans to be involved in collecting and editing the video for the first year of the installation, fine-tuning what works when, chances are they’re not going to let people hijack the imagery. \u003c/p>\n\u003cp>\u003cb>Will I like it?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How should I know? Art is subjective. But at least you’re not in the dark anymore (with regards to what’s going on up there). \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The top of the Salesforce Tower has some weird things going on—you might have noticed. Here, I preempt some of the questions you might have about San Francisco-based artist \u003ca href=\"http://www.jimcampbell.tv/\" rel=\"noopener\" target=\"_blank\">Jim Campbell\u003c/a>’s installation atop the building, which begins its illuminated life Tuesday night, May 22.\u003c/p>\n\u003cp>\u003cb>What is going on?\u003c/b>\u003c/p>\n\u003cp>Okay, so there’s this thing called the internet. It facilitates this other thing called cloud computing. And Salesforce is one of the biggest cloud computing companies in the U.S.; the author of a customer relationship management (CRM) product that inspires fervent fandom. If you don’t work in the world of CRM-facilitated customer relationships, you may know them better for their annual impact upon San Francisco’s hotel bookings: Dreamforce, \u003ca href=\"http://www.businessinsider.com/salesforces-dreamboat-for-dreamforce-2015-9\" rel=\"noopener\" target=\"_blank\">the conference that filled a thousand ships\u003c/a>.\u003c/p>\n\u003cp>\u003cb>No, what’s going on with the lights on the tower?\u003c/b>\u003c/p>\n\u003cp>I was getting there. Patience. On April 11, 2014, Salesforce signed a lease for roughly half of the 1.4 million square feet in what was previously known as the Transbay Tower, thereby attaching their name to the tallest building in San Francisco. The structure’s top nine floors are unoccupied by people, but the upper six are covered in art; Jim Campbell’s \u003ci>Day for Night\u003c/i>, made up of over 100 aluminum panels and 11,000 LEDs, is a 100-foot-tall circular screen.\u003c/p>\n\u003cfigure id=\"attachment_13832986\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13832986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_1_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Okay, so what will I see?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m so glad you asked. Initial tests and interviews with Campbell point to an ever-changing video diary of life in San Francisco. At night, daily footage culled from video cameras placed throughout the city (at Ocean Beach, Golden Gate Park, Market Street, Embarcadero, maybe even the dump) encircle the tower and project softly into the night. Some educated guesses at the imagery: bodies in motion (swimming, running, dancing), puffy clouds, flapping birds, crashing waves and waving leaves. \u003c/p>\n\u003cp>\u003cb>Is it out of focus?\u003c/b>\u003c/p>\n\u003cp>Yes, but it’s supposed to be. Campbell’s known for reducing images down to their constituent parts: pixels. He has a longtime interest in what can be gleaned from the smallest amount of information possible. \u003c/p>\n\u003cp>“If you take away all of the details of an image, is there anything useful from an experience of looking at something that’s low resolution?” he said in a \u003ca href=\"https://www.kqed.org/arts/11086747/watch-jim-campbells-led-images-swimming-through-space\" rel=\"noopener\" target=\"_blank\">2015 interview with KQED Arts\u003c/a>. “Is there some sort of essence that can be found in taking an image and getting rid of most of the information?” I call it hi-tech lo-res. \u003c/p>\n\u003cp>In \u003ci>Day for Night\u003c/i>, the thousands of LEDs point back towards the building itself, to be reflected out into the city (and visible for up to 20 miles) via the perforated aluminum panels that cover the tower’s crown. Instead of a high resolution bombardment you might find in Hong Kong, Times Square or \u003ci>Blade Runner 2049\u003c/i>, Campbell aims for a subtle and more meditative report on the daily movements of people, wind and waves. \u003c/p>\n\u003cfigure id=\"attachment_13833038\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg\" alt=\"Jim Campbell, 'Tilted Plane,' 2011. \" width=\"850\" height=\"567\" class=\"size-full wp-image-13833038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Tilted-plne-520x347.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell, ‘Tilted Plane,’ 2011. \u003ccite>(Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sounds cool. How can I see more Jim Campbell up close?\u003c/b>\u003c/p>\n\u003cp>By happy coincidence (there’s no such thing as coincidences), the seventh floor of SFMOMA currently boasts the Campbell installation \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jim-campbell-tilted-plane/\" rel=\"noopener\" target=\"_blank\">Tilted Plane\u003c/a>\u003c/i>, a truly disorienting grid of suspended lightbulbs. As your eyes adjust to the array, you may be able to discern a moving image amid the flickering bulbs—that of birds in flight. May I suggest, for those not squeamish about such things, laying on the carpeted floor to look up at the art.\u003c/p>\n\u003cp>\u003cb>How long will the tower thingy be up?\u003c/b>\u003c/p>\n\u003cp>It’s permanent. So… as long as the Salesforce Tower stands.\u003c/p>\n\u003cp>\u003cb>Who paid for it?\u003c/b>\u003c/p>\n\u003cp>Long story short: the Salesforce Tower developers, companies called Hines and Boston Properties. \u003c/p>\n\u003cp>San Francisco has a “\u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/public-art\" rel=\"noopener\" target=\"_blank\">1%-for-art program\u003c/a>” which requires large downtown projects to display or commission public art in an amount that equals at least one percent of the total construction cost.\u003c/p>\n\u003cp>Developers can handle the process of buying or commissioning works themselves (like the \u003ca href=\"https://www.kqed.org/arts/10943416/below-market-rate-housing-gets-high-end-sol-lewitt-artwork\" rel=\"noopener\" target=\"_blank\">Sol LeWitt at the corner of 10th and Mission\u003c/a>), or dedicate a portion of their one percent to the city’s Public Art Trust, which directs those funds to projects like temporary public art programming (say, a dance festival) or maintaining the Civic Art Collection. \u003c/p>\n\u003cp>Boston Properties and Hines selected \u003ci>Day for Night\u003c/i> on their own (with help from a curatorial panel), without involving the San Francisco Public Art Commission (SFAC), which means Campbell didn’t go through a public review or any of the many steps involved in making new work for the SFAC. The piece did, however, appear before the San Francisco Planning Commission as courtesy. \u003ca href=\"http://commissions.sfplanning.org/cpcpackets/2012.0257EBX.pdf\" rel=\"noopener\" target=\"_blank\">Documents submitted to the commission\u003c/a> state Boston Properties spent, as of April 2017, approximately $4.5 million on the art installation, with another $1 million expected to complete the project, equaling about 1.66 percent of the total construction cost.\u003c/p>\n\u003cfigure id=\"attachment_13832987\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg\" alt=\"Rendering of Jim Campbell's 'Day for Night,' 2018; Image by Steelblue.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/JCampbell_DayForNight_Rendering_3_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jim Campbell’s ‘Day for Night,’ 2018; Image by Steelblue. \u003ccite>(Courtesy of the artist and Boston Properties)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How long before someone finds the hidden cameras around the city and ruins this for everyone?\u003c/b>\u003c/p>\n\u003cp>Since Campbell’s studio plans to be involved in collecting and editing the video for the first year of the installation, fine-tuning what works when, chances are they’re not going to let people hijack the imagery. \u003c/p>\n\u003cp>\u003cb>Will I like it?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How should I know? Art is subjective. But at least you’re not in the dark anymore (with regards to what’s going on up there). \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mama-penny-bears-back-story-is-as-delightful-as-youd-expect",
"title": "Mama Penny Bear's Back Story is as Delightful as You'd Expect",
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"headTitle": "Mama Penny Bear’s Back Story is as Delightful as You’d Expect | KQED",
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"content": "\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "comfort-women-statue-strains-60-year-san-francisco-osaka-alliance",
"title": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance",
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"headTitle": "‘Comfort Women’ Statue Strains 60-Year San Francisco-Osaka Alliance | KQED",
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"content": "\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”nO1Yiy29IOpgLRVsXSjtBCtNZegBLMkC”]\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>[ad floatright]\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n",
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"excerpt": "San Francisco's memorial to 'comfort women' — young girls forced into sexual slavery during the 1930s and 1940s — has angered the city's allies in Japan.",
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"title": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance | KQED",
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"headline": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On Permanence: Barbara Shawcroft’s ‘Legs’ and the Challenges of Public Art",
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"content": "\u003cp>Barbara Shawcroft’s \u003ci>Legs\u003c/i> (1975-1978) is a three-story-tall public sculpture, situated in the eastern end of Embarcadero BART/Muni station. It largely resembles masses of rope, but it is made from Nomex, a flame-resistant synthetic material developed by DuPont and used to create gear for firefighters. It was commissioned for permanent placement in the station at the behest of the original architects, Tallie Maule, Hertzka and Knowles Associates (Finland/U.S.), who required a budget for the installation and maintenance of two large sculptures at either end of the station as part of their design; Stephen De Staebler’s \u003ci>Wall Canyon\u003c/i> (1975-1977) is situated at the opposite end of the station. Both pieces won placement after an open competition. Despite initial arrangements, \u003ci>Legs\u003c/i> has only been cleaned twice in 35 years. Today it looms in the station like an abandoned monument and is strangely compelling despite its obvious neglect.\u003c/p>\n\u003cp>BART’s proposed 2014 Fiscal Budget suggests decommissioning the sculpture, with a potential budget of up to $300,000 dedicated to this legal and technical process. An initial public hearing was staged on May 23, 2013 to collect public input about the proposed budget as a whole; the total budget exceeds $1 billion and the proposal regarding \u003ci>Legs\u003c/i> is but one line item. A second public hearing is scheduled for June 13, 2013; the board will vote on the budget that evening.\u003c/p>\n\u003cp>Though the cost of cleaning the sculpture is substantially less than the cost of decommissioning it, the proposed budget presents removal as the only option. The impetus for decommissioning the sculpture is unclear. Why change anything now, after so many decades? Text from the budget proposal addresses the difficulty of maintaining the sculpture, while also acknowledging that limited efforts have been made to clean it over the years. Few would argue today that its placement makes sense: airborne soot is an issue in any train station — but it was designed and placed with this concern in mind. In conversation, Luna Salaver, a BART spokesperson, suggests that larger capacity concerns should be taken into consideration, but this is not stipulated in the proposal, nor is there any assertion of hazard.\u003c/p>\n\u003cp>On the surface, the debate about decommissioning the work seems to be rooted in aesthetic subjectivities, at a time when permanent public art is a receding cultural value. The public hearing on May 23 was filled with more than a hundred union employees waiting to address labor issues. It is easy to see how a sculpture becomes superfluous in the short term, but public works find value in longevity. Even the artworks that fall out of vogue — or never found it to begin with — are considered visual culture in the longer view of history.\u003c/p>\n\u003cfigure id=\"attachment_13957551\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg\" alt=\"\" width=\"358\" height=\"500\" class=\"size-full wp-image-13957551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg 358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578-160x223.jpg 160w\" sizes=\"auto, (max-width: 358px) 100vw, 358px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Shawcroft, ‘Legs,’ 1975-1978; installation view, 1978. Courtesy of the artist. \u003ccite>(William Hocker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issues at stake in decommissioning public art are complex, beyond the fact that the funds could benefit a substantial number of other creative initiatives. The proposed decommissioning also raises larger questions about the sustainability and permanence of public art in an evolving cityscape. When \u003ci>Legs\u003c/i> was commissioned, the station was brand new — today it services 11,000 passengers per hour during peak commute times. Increasingly public art is moving towards temporary gestures, often privately funded, to circumnavigate divided public opinion, bureaucracy, and dwindling arts funding — the recently launched \u003ci>Bay Lights\u003c/i> is a prime example.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How the trend towards impermanence will affect cultural memory remains to be seen. Part of what we love about looking at and living in cities is the built environment and its layered histories. Temporary works enhance the built environment, but their destination status is limited, whereas permanent public works \u003ci>become\u003c/i> the landscape. For better or for worse, \u003ci>Legs\u003c/i> stands out among large-scale public works in San Francisco for its unique presence and public accessibility. It is also noteworthy that there are relatively few public works of this scale by women artists.\u003c/p>\n\u003cp>The built environment — architecture, monuments, and public sculptures — reflect the aesthetic values of the era. \u003ci>Legs\u003c/i> is no exception: it was developed out of the 1970s textiles and fiber arts movement, to the extent that it is often mistakenly referred to as “macramé,” a seventies icon if ever there was one. The original orange color, still vivid beneath the accumulated grime, is also reminiscent of its time. As such, it is easy to disregard the work as outmoded — but that is subjective. For everyone who thinks \u003ci>Legs\u003c/i> should be removed, there is another who would argue for it to be left in place. Opinions about what should happen to the sculpture are varied. No dominant opinion presents itself. In fair disclosure, I wrote about this scope of opinions about \u003ci>Legs\u003c/i> for \u003ci>Art Practical\u003c/i> in 2011. The diversity of opinions about the sculpture is, perhaps, one of its most compelling attributes.\u003c/p>\n\u003cp>In an interview for this article, art historian and curator Peter Selz, founding director of the Berkeley Art Museum and a member of the committee that commissioned \u003ci>Legs\u003c/i>, was emphatic in his response to the proposed decommissioning: “Seeing the old photo of how it originally appeared in its color, I feel strongly that \u003ci>Legs\u003c/i> should be thoroughly cleaned and well maintained. Certainly it should not be removed without the approval of the artist.”\u003c/p>\n\u003cfigure id=\"attachment_13957552\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg\" alt=\"\" width=\"375\" height=\"500\" class=\"size-full wp-image-13957552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs-160x213.jpg 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A recent view of ‘Legs.’\u003c/figcaption>\u003c/figure>\n\u003cp>Others are inclined to suggest that the work be situated elsewhere given the unsuitable conditions of its surroundings. Patricia Maloney, director of Bay Area-based arts journal \u003ci>Art Practical\u003c/i> notes, “The commissioning bodies of this work of art (the BART Board and the City of San Francisco) have the obligation to keep the work intact and relocate it to a more suitable exhibition environment, where the proper conservation work can be undertaken and which efforts would have more lasting effects.” She goes on to suggest, “The BART Board may consider donating the work to one of the area’s collecting institutions, particularly those that are invested in the history of Bay Area art. The de Young Museum, the UC Berkeley Art Museum, and the Oakland Museum of California all come to mind as potential homes.” Further, she notes, the San Francisco Arts Commission should “take this work as a case study in public art maintenance, and review the current amount allocated for conservation for the Central Subway commissions.”\u003c/p>\n\u003cp>Shawcroft, now Professor Emeritus of Design in the Environmental Design Department at University of California, Davis, is surprised that BART would propose decommissioning the work without consulting with her. “Why wouldn’t they simply clean it for a fraction of the cost of what they are proposing,” she asked recently. Shawcroft also points out that the sculpture will be nearly impossible to remove — the rope alone weighs 8,000 pounds, plus it contains a stainless steel support structure bolted to the station’s foundation. “In the interest of a secure installation,” she said, “safety considerations were enacted nine times beyond what was necessary. It was designed to stay in place. Moving it will be more costly than BART might realize.”\u003c/p>\n\u003cp>Josh Faught, an artist and Assistant Professor of Textiles at California College of the Arts, sees the argument from both sides. “Although I can see the value of preserving the work, there’s another part of me that wishes the city [sic] would leave the piece as is. The capacity of textiles is one of witness. They have the remarkable ability to absorb the patina of history. Textiles are, by nature, ephemeral — so it makes more sense to allow \u003ci>Legs\u003c/i> to rot and blacken as a reflection of its experience.” As the work has hung in the station for nearly 35 years and has done just that, perhaps the best scenario would be to let history to takes its course.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>BART is hosting a public hearing to review its proposed budget on June 13, 2013; the decommissioning of \u003ci>Legs\u003c/i> is an item in the proposed budget. Interested parties may attend the public hearing or submit comments in writing to the BART Board, c/o Ken Duron, District Secretary, 300 Lakeside Drive, Oakland, CA 94612 or via email to \u003ca href=\"mailto:kduron@bart.gov\">kduron@bart.gov\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barbara Shawcroft’s \u003ci>Legs\u003c/i> (1975-1978) is a three-story-tall public sculpture, situated in the eastern end of Embarcadero BART/Muni station. It largely resembles masses of rope, but it is made from Nomex, a flame-resistant synthetic material developed by DuPont and used to create gear for firefighters. It was commissioned for permanent placement in the station at the behest of the original architects, Tallie Maule, Hertzka and Knowles Associates (Finland/U.S.), who required a budget for the installation and maintenance of two large sculptures at either end of the station as part of their design; Stephen De Staebler’s \u003ci>Wall Canyon\u003c/i> (1975-1977) is situated at the opposite end of the station. Both pieces won placement after an open competition. Despite initial arrangements, \u003ci>Legs\u003c/i> has only been cleaned twice in 35 years. Today it looms in the station like an abandoned monument and is strangely compelling despite its obvious neglect.\u003c/p>\n\u003cp>BART’s proposed 2014 Fiscal Budget suggests decommissioning the sculpture, with a potential budget of up to $300,000 dedicated to this legal and technical process. An initial public hearing was staged on May 23, 2013 to collect public input about the proposed budget as a whole; the total budget exceeds $1 billion and the proposal regarding \u003ci>Legs\u003c/i> is but one line item. A second public hearing is scheduled for June 13, 2013; the board will vote on the budget that evening.\u003c/p>\n\u003cp>Though the cost of cleaning the sculpture is substantially less than the cost of decommissioning it, the proposed budget presents removal as the only option. The impetus for decommissioning the sculpture is unclear. Why change anything now, after so many decades? Text from the budget proposal addresses the difficulty of maintaining the sculpture, while also acknowledging that limited efforts have been made to clean it over the years. Few would argue today that its placement makes sense: airborne soot is an issue in any train station — but it was designed and placed with this concern in mind. In conversation, Luna Salaver, a BART spokesperson, suggests that larger capacity concerns should be taken into consideration, but this is not stipulated in the proposal, nor is there any assertion of hazard.\u003c/p>\n\u003cp>On the surface, the debate about decommissioning the work seems to be rooted in aesthetic subjectivities, at a time when permanent public art is a receding cultural value. The public hearing on May 23 was filled with more than a hundred union employees waiting to address labor issues. It is easy to see how a sculpture becomes superfluous in the short term, but public works find value in longevity. Even the artworks that fall out of vogue — or never found it to begin with — are considered visual culture in the longer view of history.\u003c/p>\n\u003cfigure id=\"attachment_13957551\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg\" alt=\"\" width=\"358\" height=\"500\" class=\"size-full wp-image-13957551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg 358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578-160x223.jpg 160w\" sizes=\"auto, (max-width: 358px) 100vw, 358px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Shawcroft, ‘Legs,’ 1975-1978; installation view, 1978. Courtesy of the artist. \u003ccite>(William Hocker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issues at stake in decommissioning public art are complex, beyond the fact that the funds could benefit a substantial number of other creative initiatives. The proposed decommissioning also raises larger questions about the sustainability and permanence of public art in an evolving cityscape. When \u003ci>Legs\u003c/i> was commissioned, the station was brand new — today it services 11,000 passengers per hour during peak commute times. Increasingly public art is moving towards temporary gestures, often privately funded, to circumnavigate divided public opinion, bureaucracy, and dwindling arts funding — the recently launched \u003ci>Bay Lights\u003c/i> is a prime example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How the trend towards impermanence will affect cultural memory remains to be seen. Part of what we love about looking at and living in cities is the built environment and its layered histories. Temporary works enhance the built environment, but their destination status is limited, whereas permanent public works \u003ci>become\u003c/i> the landscape. For better or for worse, \u003ci>Legs\u003c/i> stands out among large-scale public works in San Francisco for its unique presence and public accessibility. It is also noteworthy that there are relatively few public works of this scale by women artists.\u003c/p>\n\u003cp>The built environment — architecture, monuments, and public sculptures — reflect the aesthetic values of the era. \u003ci>Legs\u003c/i> is no exception: it was developed out of the 1970s textiles and fiber arts movement, to the extent that it is often mistakenly referred to as “macramé,” a seventies icon if ever there was one. The original orange color, still vivid beneath the accumulated grime, is also reminiscent of its time. As such, it is easy to disregard the work as outmoded — but that is subjective. For everyone who thinks \u003ci>Legs\u003c/i> should be removed, there is another who would argue for it to be left in place. Opinions about what should happen to the sculpture are varied. No dominant opinion presents itself. In fair disclosure, I wrote about this scope of opinions about \u003ci>Legs\u003c/i> for \u003ci>Art Practical\u003c/i> in 2011. The diversity of opinions about the sculpture is, perhaps, one of its most compelling attributes.\u003c/p>\n\u003cp>In an interview for this article, art historian and curator Peter Selz, founding director of the Berkeley Art Museum and a member of the committee that commissioned \u003ci>Legs\u003c/i>, was emphatic in his response to the proposed decommissioning: “Seeing the old photo of how it originally appeared in its color, I feel strongly that \u003ci>Legs\u003c/i> should be thoroughly cleaned and well maintained. Certainly it should not be removed without the approval of the artist.”\u003c/p>\n\u003cfigure id=\"attachment_13957552\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg\" alt=\"\" width=\"375\" height=\"500\" class=\"size-full wp-image-13957552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs-160x213.jpg 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A recent view of ‘Legs.’\u003c/figcaption>\u003c/figure>\n\u003cp>Others are inclined to suggest that the work be situated elsewhere given the unsuitable conditions of its surroundings. Patricia Maloney, director of Bay Area-based arts journal \u003ci>Art Practical\u003c/i> notes, “The commissioning bodies of this work of art (the BART Board and the City of San Francisco) have the obligation to keep the work intact and relocate it to a more suitable exhibition environment, where the proper conservation work can be undertaken and which efforts would have more lasting effects.” She goes on to suggest, “The BART Board may consider donating the work to one of the area’s collecting institutions, particularly those that are invested in the history of Bay Area art. The de Young Museum, the UC Berkeley Art Museum, and the Oakland Museum of California all come to mind as potential homes.” Further, she notes, the San Francisco Arts Commission should “take this work as a case study in public art maintenance, and review the current amount allocated for conservation for the Central Subway commissions.”\u003c/p>\n\u003cp>Shawcroft, now Professor Emeritus of Design in the Environmental Design Department at University of California, Davis, is surprised that BART would propose decommissioning the work without consulting with her. “Why wouldn’t they simply clean it for a fraction of the cost of what they are proposing,” she asked recently. Shawcroft also points out that the sculpture will be nearly impossible to remove — the rope alone weighs 8,000 pounds, plus it contains a stainless steel support structure bolted to the station’s foundation. “In the interest of a secure installation,” she said, “safety considerations were enacted nine times beyond what was necessary. It was designed to stay in place. Moving it will be more costly than BART might realize.”\u003c/p>\n\u003cp>Josh Faught, an artist and Assistant Professor of Textiles at California College of the Arts, sees the argument from both sides. “Although I can see the value of preserving the work, there’s another part of me that wishes the city [sic] would leave the piece as is. The capacity of textiles is one of witness. They have the remarkable ability to absorb the patina of history. Textiles are, by nature, ephemeral — so it makes more sense to allow \u003ci>Legs\u003c/i> to rot and blacken as a reflection of its experience.” As the work has hung in the station for nearly 35 years and has done just that, perhaps the best scenario would be to let history to takes its course.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>BART is hosting a public hearing to review its proposed budget on June 13, 2013; the decommissioning of \u003ci>Legs\u003c/i> is an item in the proposed budget. Interested parties may attend the public hearing or submit comments in writing to the BART Board, c/o Ken Duron, District Secretary, 300 Lakeside Drive, Oakland, CA 94612 or via email to \u003ca href=\"mailto:kduron@bart.gov\">kduron@bart.gov\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"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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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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