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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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},
"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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"science-friday": {
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