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"content": "\u003cp>[dropcap]I[/dropcap]t’s been very quiet on the San Francisco Art Institute campus since the school \u003ca href=\"https://www.kqed.org/arts/13916517/sfai-closed-students-for-action-usf-aquisition\">closed its doors behind its last graduating class\u003c/a> on July 15, 2022. Except for a security guard, archivists Jeff Gunderson and Becky Alexander are the only regular visitors to 800 Chestnut St. Even the fountain’s turtles have been relocated to the Sonoma County Reptile Rescue.\u003c/p>\n\u003cp>[aside postID='arts_13916517']But that stillness belies the major work taking place behind the scenes, in Zoom meetings and over email, to create a brand new and financially separate nonprofit institution known as the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. While the school wobbles at the edge of seemingly inevitable bankruptcy proceedings, the newly formed legacy foundation aims to shepherd SFAI’s tangible history into a safe, stable and publicly accessible future. \u003c/p>\n\u003cp>“The scenario that led SFAI to not be in the business of providing education … became the opportunity for us to do something which I think would be profoundly important even if they were still providing education,” says Charles DeSantis, legacy foundation president and board chair. He is joined by Gale Elston, a New York-based lawyer with a background in artists’ rights, and Katie Hood Morgan, the former \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">curator of exhibitions and public programs at SFAI\u003c/a>, now an independent curator.\u003c/p>\n\u003cp>DeSantis, the chief benefits officer and associate vice president for benefits and wellness at Georgetown University, also attended SFAI for what he calls his “self-appointed post-baccalaureate program” in the early 2000s, connecting deeply with the faculty, campus and student body. Elston has worked with SFAI-connected artists and used to live a few blocks from the school. \u003c/p>\n\u003cfigure id=\"attachment_13925091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Empty Italianate courtyard with trees, fountain and shadows\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piles of scattered leaves cover the brick ground of the courtyard of the San Francisco Art Institute in on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their connections, all three founding board members are new to leadership positions at the school. This was purposeful. After the tumult of the past three years, the legacy foundation needed to be completely separate from SFAI’s administration, board and even the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\">Reimagine Committee\u003c/a>, a group of alumni, staff and faculty who met for six months in 2020 and early 2021 to propose a radically different SFAI.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the listening tours that current SFAI board chair Lonnie Graham and vice chair John Marx undertook following the departure of embattled board chair Pam Rorke Levy, Marx says the issue of the archive kept coming up.\u003c/p>\n\u003cp>“This came from the community,” he says. “Every time we’d have a meeting, it’s like, ‘Well, if you go bankrupt, how are we going to protect the archive? How are we going to protect the spirit of the school?’”\u003c/p>\n\u003cfigure id=\"attachment_13925092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg\" alt=\"Booklet cover with text over black and white photograph of students playing basketball on brutalist campus\" width=\"1200\" height=\"1837\" class=\"size-full wp-image-13925092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-800x1225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1020x1561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1003x1536.jpg 1003w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 1973–1974 catalog advertising courses at SFAI. \u003ccite>(Courtesy the SFAI Legacy Archive + Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is\u003c/h2>\n\u003cp>The archive is expansive. Currently housed in the Anne Bremer Memorial Library and within three chilly, musty rooms in the school’s bell-less bell tower, it contains 550 linear feet of archival records from the school’s 152-year history. These include manuscripts, account books, minutes of meetings, photographs, blueprints, broadsides, ephemera, and audio and video recordings. Organization ranges from donations labeled “not yet looked through” to hyper-specific collections in acid-free boxes. \u003c/p>\n\u003cp>A sampling: a 1978 advertisement for SFAI’s summer session, featuring a “Non-Sculpture” class with Paul Kos; 1878 board minutes approving Eadweard Muybridge’s use of rooms for “the exhibition of his photographs of trotting horses”; a collection of student newspapers and periodicals, including \u003ci>The Philistine\u003c/i> (1992–1996); documents relating to the Montalvo estate in Saratoga, which SFAI once owned (!); and a well-organized section on parties thrown between 1904 and 1976. There’s even an ever-popular ghost file, which includes documentation of several visits from ghost hunters seeking out the spirit who supposedly haunts SFAI’s tower. \u003c/p>\n\u003cp>As archivist Gunderson says, “No one ever threw anything away here, you know? And the last time it really burned up was in 1906. So there’s a lot of stuff.”\u003c/p>\n\u003cfigure id=\"attachment_13925094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Shadows fall across pages of handwritten text in elegant cursive\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A board of directors meeting log from 1878 sits open to a page that mentions Eadweard Muybridge, known for his photographic studies of motion of humans and animals, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2022, SFAI’s archive officially transferred to the newly formed legacy foundation, and with it the right to administer a 2022 National Endowment for the Humanities grant. This $234,820 award will pay for Gunderson and Alexander’s labor and materials as they arrange, describe and rehouse the materials. For while the archive has always been open to researchers, the grant application points out, informing dozens of books, articles, exhibitions, films, lectures and courses, “it has never been as accessible or discoverable as its historical value demands.”\u003c/p>\n\u003cp>[aside postID='arts_13889433']Caring for the archive in this way is also a matter of equity. Instead of just the “greatest hits,” this project will allow lesser-known stories and new voices to emerge in the school’s history. “We’ll be looking at everything at least a little bit and have a chance to see what has been buried in there, which is very cool,” Alexander explains. Eventually, all the descriptions and finding aids will be available via the \u003ca href=\"https://oac.cdlib.org/\">Online Archive of California\u003c/a>. “It’ll be just a lot more easy to find what you might not even have known you were looking for,” she adds.\u003c/p>\n\u003cp>In the immediate, the legacy foundation’s goal is to raise enough funds — DeSantis says “at least $100,000” — to rent space to house the archives, and where Gunderson and Alexander can start their work. If they can raise $250,000, DeSantis says, all the better. That would guarantee a bit of stability. The legacy foundation is looking for a minimum of 650 square feet in San Francisco, though the long-term goal is to house the archive somewhere larger, where the public could visit and programming could take place.\u003c/p>\n\u003cp>In true SFAI fashion, the deadline for when the archive must leave campus is uncertain, as is the very future of 800 Chestnut St. \u003c/p>\n\u003cfigure id=\"attachment_13925095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Looking down on dimly lit space with empty work tables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ceramics studio sits empty at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is not\u003c/h2>\n\u003cp>There are many things the archive is not: the Diego Rivera mural, the circulating books in the library, the studio equipment and the campus itself. The archive is not an educational institution. In fact, so long as SFAI, “the school,” exists in some form, the legacy foundation cannot offer instruction. Improbably, half a year after the proposed merger with USF fell through, SFAI “the school” endures, paying rent to the UC Regents. \u003c/p>\n\u003cp>Will SFAI have to declare bankruptcy? Marx says that is “the interesting question with no easy answer.” SFAI and the UC Regents, who now own 800 Chestnut St., are in negotiations with developers about a possible sale. Reasonable uses of the property could include education, housing or a hotel.\u003c/p>\n\u003cp>“But ultimately,” Marx explains, “the long-term success of SFAI and the ability to reemerge as a school of fine arts is dependent on being able to sell the mural.” Marx says that buyer would have to guarantee Rivera’s \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> remains publicly accessible, in situ. \u003c/p>\n\u003cfigure id=\"attachment_13925093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Giant colorful mural lit by only skylight in otherwise empty room\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The walls in the Diego Rivera Gallery sit empty except for Diego Rivera’s mural, ‘The Making of a Fresco Showing the Building of a City,’ from 1931, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complicating this potential sale is the fact that SFAI no longer owns the gallery the mural exists within — the UC Regents do. In one dream scenario, a museum could buy the Rivera and establish a satellite gallery with an easement of sorts; SFAI might reemerge with a smaller footprint, perhaps just as a graduate program. \u003c/p>\n\u003cp>“We are definitely aggressively pursuing every opportunity that we still have relative to restarting the school,” Marx says. Even so, if the school loses all its assets and emerges with something like $5 million, that’s not enough to move forward. In that scenario, SFAI “the school” would pay the faculty and staff additional severance and close for good.[pullquote size='medium' align='right' citation='Becky Alexander, Archivist']‘We don’t want to be the ghosts.’[/pullquote] \u003c/p>\n\u003cp>“The goal is to restart it, not to just have it linger on in some sort of near-death experience,” Marx explains.\u003c/p>\n\u003ch2>The archive leaves SFAI\u003c/h2>\n\u003cp>For nearly 100 years, the archive has been part of the campus architecture. It lines the staircase of the bell tower, taking up nearly every available nook and cranny. Removing the material from the school will be “wrenching,” Alexander says. But at the same time, maybe it’s for the best. “We don’t want to be the ghosts,” she adds.\u003c/p>\n\u003cp>On a recent visit to SFAI, Gunderson toured me around the archive and through the empty school. Leaves had blown down hallways and into studios. A succulent grew out of a once heavily trafficked concrete step. There was a bit of a stench in the sculpture pit, where the drains used to get flushed out on a regular basis. \u003c/p>\n\u003cfigure id=\"attachment_13925099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Cast plaster statue of Tweety bird sit inside ajar locker\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sculpture sits in an open locker at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the creative energy that used to fill those spaces is now dispersed among the SFAI’s former staff, faculty, students and fans. The school’s \u003ca href=\"https://www.sfartistsalumni.org/\">alumni group\u003c/a>, in particular, has worked hard to keep those connections alive. That’s where the SFAI Legacy Archive + Foundation can act as a destination, and what makes its board hopeful for success.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s so much desire to help and chip in and really contribute to something positive related to the school,” Morgan says of their bet on the next 152 years. “I think people have been looking for that, hoping for that, like a ray of light of some kind.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s been very quiet on the San Francisco Art Institute campus since the school \u003ca href=\"https://www.kqed.org/arts/13916517/sfai-closed-students-for-action-usf-aquisition\">closed its doors behind its last graduating class\u003c/a> on July 15, 2022. Except for a security guard, archivists Jeff Gunderson and Becky Alexander are the only regular visitors to 800 Chestnut St. Even the fountain’s turtles have been relocated to the Sonoma County Reptile Rescue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But that stillness belies the major work taking place behind the scenes, in Zoom meetings and over email, to create a brand new and financially separate nonprofit institution known as the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. While the school wobbles at the edge of seemingly inevitable bankruptcy proceedings, the newly formed legacy foundation aims to shepherd SFAI’s tangible history into a safe, stable and publicly accessible future. \u003c/p>\n\u003cp>“The scenario that led SFAI to not be in the business of providing education … became the opportunity for us to do something which I think would be profoundly important even if they were still providing education,” says Charles DeSantis, legacy foundation president and board chair. He is joined by Gale Elston, a New York-based lawyer with a background in artists’ rights, and Katie Hood Morgan, the former \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">curator of exhibitions and public programs at SFAI\u003c/a>, now an independent curator.\u003c/p>\n\u003cp>DeSantis, the chief benefits officer and associate vice president for benefits and wellness at Georgetown University, also attended SFAI for what he calls his “self-appointed post-baccalaureate program” in the early 2000s, connecting deeply with the faculty, campus and student body. Elston has worked with SFAI-connected artists and used to live a few blocks from the school. \u003c/p>\n\u003cfigure id=\"attachment_13925091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Empty Italianate courtyard with trees, fountain and shadows\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piles of scattered leaves cover the brick ground of the courtyard of the San Francisco Art Institute in on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their connections, all three founding board members are new to leadership positions at the school. This was purposeful. After the tumult of the past three years, the legacy foundation needed to be completely separate from SFAI’s administration, board and even the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\">Reimagine Committee\u003c/a>, a group of alumni, staff and faculty who met for six months in 2020 and early 2021 to propose a radically different SFAI.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the listening tours that current SFAI board chair Lonnie Graham and vice chair John Marx undertook following the departure of embattled board chair Pam Rorke Levy, Marx says the issue of the archive kept coming up.\u003c/p>\n\u003cp>“This came from the community,” he says. “Every time we’d have a meeting, it’s like, ‘Well, if you go bankrupt, how are we going to protect the archive? How are we going to protect the spirit of the school?’”\u003c/p>\n\u003cfigure id=\"attachment_13925092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg\" alt=\"Booklet cover with text over black and white photograph of students playing basketball on brutalist campus\" width=\"1200\" height=\"1837\" class=\"size-full wp-image-13925092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-800x1225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1020x1561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1003x1536.jpg 1003w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 1973–1974 catalog advertising courses at SFAI. \u003ccite>(Courtesy the SFAI Legacy Archive + Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is\u003c/h2>\n\u003cp>The archive is expansive. Currently housed in the Anne Bremer Memorial Library and within three chilly, musty rooms in the school’s bell-less bell tower, it contains 550 linear feet of archival records from the school’s 152-year history. These include manuscripts, account books, minutes of meetings, photographs, blueprints, broadsides, ephemera, and audio and video recordings. Organization ranges from donations labeled “not yet looked through” to hyper-specific collections in acid-free boxes. \u003c/p>\n\u003cp>A sampling: a 1978 advertisement for SFAI’s summer session, featuring a “Non-Sculpture” class with Paul Kos; 1878 board minutes approving Eadweard Muybridge’s use of rooms for “the exhibition of his photographs of trotting horses”; a collection of student newspapers and periodicals, including \u003ci>The Philistine\u003c/i> (1992–1996); documents relating to the Montalvo estate in Saratoga, which SFAI once owned (!); and a well-organized section on parties thrown between 1904 and 1976. There’s even an ever-popular ghost file, which includes documentation of several visits from ghost hunters seeking out the spirit who supposedly haunts SFAI’s tower. \u003c/p>\n\u003cp>As archivist Gunderson says, “No one ever threw anything away here, you know? And the last time it really burned up was in 1906. So there’s a lot of stuff.”\u003c/p>\n\u003cfigure id=\"attachment_13925094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Shadows fall across pages of handwritten text in elegant cursive\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A board of directors meeting log from 1878 sits open to a page that mentions Eadweard Muybridge, known for his photographic studies of motion of humans and animals, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2022, SFAI’s archive officially transferred to the newly formed legacy foundation, and with it the right to administer a 2022 National Endowment for the Humanities grant. This $234,820 award will pay for Gunderson and Alexander’s labor and materials as they arrange, describe and rehouse the materials. For while the archive has always been open to researchers, the grant application points out, informing dozens of books, articles, exhibitions, films, lectures and courses, “it has never been as accessible or discoverable as its historical value demands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Caring for the archive in this way is also a matter of equity. Instead of just the “greatest hits,” this project will allow lesser-known stories and new voices to emerge in the school’s history. “We’ll be looking at everything at least a little bit and have a chance to see what has been buried in there, which is very cool,” Alexander explains. Eventually, all the descriptions and finding aids will be available via the \u003ca href=\"https://oac.cdlib.org/\">Online Archive of California\u003c/a>. “It’ll be just a lot more easy to find what you might not even have known you were looking for,” she adds.\u003c/p>\n\u003cp>In the immediate, the legacy foundation’s goal is to raise enough funds — DeSantis says “at least $100,000” — to rent space to house the archives, and where Gunderson and Alexander can start their work. If they can raise $250,000, DeSantis says, all the better. That would guarantee a bit of stability. The legacy foundation is looking for a minimum of 650 square feet in San Francisco, though the long-term goal is to house the archive somewhere larger, where the public could visit and programming could take place.\u003c/p>\n\u003cp>In true SFAI fashion, the deadline for when the archive must leave campus is uncertain, as is the very future of 800 Chestnut St. \u003c/p>\n\u003cfigure id=\"attachment_13925095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Looking down on dimly lit space with empty work tables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ceramics studio sits empty at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is not\u003c/h2>\n\u003cp>There are many things the archive is not: the Diego Rivera mural, the circulating books in the library, the studio equipment and the campus itself. The archive is not an educational institution. In fact, so long as SFAI, “the school,” exists in some form, the legacy foundation cannot offer instruction. Improbably, half a year after the proposed merger with USF fell through, SFAI “the school” endures, paying rent to the UC Regents. \u003c/p>\n\u003cp>Will SFAI have to declare bankruptcy? Marx says that is “the interesting question with no easy answer.” SFAI and the UC Regents, who now own 800 Chestnut St., are in negotiations with developers about a possible sale. Reasonable uses of the property could include education, housing or a hotel.\u003c/p>\n\u003cp>“But ultimately,” Marx explains, “the long-term success of SFAI and the ability to reemerge as a school of fine arts is dependent on being able to sell the mural.” Marx says that buyer would have to guarantee Rivera’s \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> remains publicly accessible, in situ. \u003c/p>\n\u003cfigure id=\"attachment_13925093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Giant colorful mural lit by only skylight in otherwise empty room\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The walls in the Diego Rivera Gallery sit empty except for Diego Rivera’s mural, ‘The Making of a Fresco Showing the Building of a City,’ from 1931, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complicating this potential sale is the fact that SFAI no longer owns the gallery the mural exists within — the UC Regents do. In one dream scenario, a museum could buy the Rivera and establish a satellite gallery with an easement of sorts; SFAI might reemerge with a smaller footprint, perhaps just as a graduate program. \u003c/p>\n\u003cp>“We are definitely aggressively pursuing every opportunity that we still have relative to restarting the school,” Marx says. Even so, if the school loses all its assets and emerges with something like $5 million, that’s not enough to move forward. In that scenario, SFAI “the school” would pay the faculty and staff additional severance and close for good.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>“The goal is to restart it, not to just have it linger on in some sort of near-death experience,” Marx explains.\u003c/p>\n\u003ch2>The archive leaves SFAI\u003c/h2>\n\u003cp>For nearly 100 years, the archive has been part of the campus architecture. It lines the staircase of the bell tower, taking up nearly every available nook and cranny. Removing the material from the school will be “wrenching,” Alexander says. But at the same time, maybe it’s for the best. “We don’t want to be the ghosts,” she adds.\u003c/p>\n\u003cp>On a recent visit to SFAI, Gunderson toured me around the archive and through the empty school. Leaves had blown down hallways and into studios. A succulent grew out of a once heavily trafficked concrete step. There was a bit of a stench in the sculpture pit, where the drains used to get flushed out on a regular basis. \u003c/p>\n\u003cfigure id=\"attachment_13925099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Cast plaster statue of Tweety bird sit inside ajar locker\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sculpture sits in an open locker at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the creative energy that used to fill those spaces is now dispersed among the SFAI’s former staff, faculty, students and fans. The school’s \u003ca href=\"https://www.sfartistsalumni.org/\">alumni group\u003c/a>, in particular, has worked hard to keep those connections alive. That’s where the SFAI Legacy Archive + Foundation can act as a destination, and what makes its board hopeful for success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so much desire to help and chip in and really contribute to something positive related to the school,” Morgan says of their bet on the next 152 years. “I think people have been looking for that, hoping for that, like a ray of light of some kind.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket",
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"content": "\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>[aside postID='arts_13826589']But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Steuart Pittman, Mills alum']‘I do think that no matter the cost the proverbial life in the arts is really one worth living.’[/pullquote]As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>[aside postID='arts_13916517,news_11914203']Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Dave Sandoval, CCA alum']‘I need to get this off my name, off my credit score, because you just don’t know.’[/pullquote]Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Maddy Clifford, Mills alum']‘The more I started researching the policy, the more I realized how profoundly unjust the student loans are.’[/pullquote]Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1958, when the late Filipino American artist Carlos Villa was studying at the California School of Fine Arts, he asked one of his teachers where he could learn about other Filipino art.\u003c/p>\n\u003cp>“His teacher said to him \u003cem>there isn’t any\u003c/em>,” said Mark Johnson, co-curator of \u003cem>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Villa: Worlds in Collision\u003c/a>\u003c/em>, a retrospective of Villa’s work at the Asian Art Museum of San Francisco.\u003c/p>\n\u003cp>That response inspired Villa to go beyond his own art, and make it his mission to help other artists of color.\u003c/p>\n\u003cp>“His whole career was trying to focus on filling in that story both for himself and for artists in the future,” said Johnson.\u003c/p>\n\u003cfigure id=\"attachment_13919900\" class=\"wp-caption aligncenter\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png\" alt=\"A Filipino American man dressed in black pants and hoodie sits low to the ground on the edge of a surreal sculpture. \" width=\"436\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989-160x136.png 160w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Carlos Villa in his studio, 1985. \u003ccite>(Patricia Arian/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Villa died in 2013, but his legacy continues. As a professor at the San Francisco Art Institute for four decades and a powerful community organizer and mentor, Villa had an outsize impact on dozens of younger artists. His students included Obama portraitist Kehinde Wiley and Mission School art pioneer Barry McGee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Villa devoted his career to uplifting others, but now he is getting his due as an artist in his own right: The exhibition at the Asian Art Museum is the first in the country to give a Filipino American artist a major retrospective.\u003c/p>\n\u003cp>It includes the artist’s paintings and installations, many of which explore multiculturalism, decolonization and Filipino identity, like his resplendent feathered capes, evoking both the vestments of Villa’s Catholic youth in San Francisco and robes worn by the Hawaiian aristocracy. A \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" target=\"_blank\" rel=\"noopener noreferrer\">companion exhibition\u003c/a> at the San Francisco Arts Commission features his later works, and an earlier iteration, which included both shows, closed at the Newark Museum of Art in May.\u003c/p>\n\u003cfigure id=\"attachment_13919907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png\" alt=\"\" width=\"800\" height=\"353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1020x450.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-768x339.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1536x677.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-2048x903.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1920x847.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Carlos Villa’s feathered capes, on view in the exhibition. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Asian Art Museum show also features pieces by his protégés. For example, a vintage motorcycle and side-car—a typical way Filipinos get around—tricked-out with sparkly lights, bright pom-poms and a karaoke machine, created by two former students, Filipino Americans Michael Arcega and Paolo Asuncion.\u003c/p>\n\u003cp>[aside postid='arts_13919683']Sometimes the motorcycle tools around the Bay Area. But behind the fun is a serious political message about making space for Filipino American voices. “We want to signal that we are around and present,” Arcega said.\u003c/p>\n\u003cp>Arcega said this use of art as \u003cem>literally \u003c/em>a vehicle for increasing Filipino visibility was inspired by Villa, who thought street life should be an inspiration for art.\u003c/p>\n\u003cfigure id=\"attachment_13919908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM.png 1492w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘TNT Traysikel’—a tricked-out motorcycle side-car installation by artists Paolo Asuncion and Michael Arcega on display at the Asian Art Museum. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came into visual arts through graffiti art and have kind of carried that pride because of Carlos to this project,” Arcega said.\u003c/p>\n\u003cp>New York-based Filipino American artist Paul Pfeiffer also studied with Villa. He said his mentor worked to increase the visibility of artists of color in the white-dominated art world by organizing a slew of landmark conferences starting in the 1970s.\u003c/p>\n\u003cp>[aside postid='arts_13812554']Those conferences changed his life. “It felt like the first time that I was seeing a kind of conversation about art and art history that felt like it included me,” Pfeiffer said.\u003c/p>\n\u003cp>Today, Pfeiffer is an internationally-recognized political artist with work in the collection of New York’s Guggenheim Museum.\u003c/p>\n\u003cp>His video installation in the exhibit shows a boxing match in which one of the contenders—prize-fighter-turned-politician Manny Pacquiao—faces off against an opponent whose presence on screen has been erased by the artist. The piece explores the Filipino body under assault, fighting invisible forces.\u003c/p>\n\u003cp>Pfeiffer said Villa helped to shape his political awakening. “He opened the door,” Pfeiffer said. “He clued me into it.”\u003c/p>\n\u003cfigure id=\"attachment_13919909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png\" alt=\"Lilac curtains on a back wall frame lilac oblong boxes with small sculptures on and TV screens showing yellow humanoid figures at a dinner table, taken at different angles.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-1020x654.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mail Order Brides’ installation at the Asian Art Museum, ‘Chatsilog Revisited.’ \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reanne Estrada, an artist in Los Angeles, said another of Villa’s superpowers was bringing young artists together. “He exposed me to a different way of thinking about how to be an artist,” Estrada said. “How you connect with other people.”\u003c/p>\n\u003cp>[aside postid='arts_13916517']Estrada is part of the surrealist art collective Mail Order Brides. She said the Brides came into being nearly 30 years ago when Villa introduced her to fellow Filipina Americans Eliza Barrios and Jenifer Wofford.\u003c/p>\n\u003cp>The Brides’ multimedia installation in the exhibition playfully pays tribute to their mentor. Villa’s face beams from a video screen, as footage on nearby screens shows Estrada, Barrios and Wofford bumbling around a kitchen making the traditional Filipino breakfast dish silog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Even after decades of working together, we’re still a bunch of slightly wacky ladies wearing granny panties and egg aprons,” Estrada said. “Carlos would be proud to know some things don’t change.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+Filipino+American+artist+influenced+the+work+of+a+generation+of+others&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1958, when the late Filipino American artist Carlos Villa was studying at the California School of Fine Arts, he asked one of his teachers where he could learn about other Filipino art.\u003c/p>\n\u003cp>“His teacher said to him \u003cem>there isn’t any\u003c/em>,” said Mark Johnson, co-curator of \u003cem>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/carlos-villa-worlds-in-collision/\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Villa: Worlds in Collision\u003c/a>\u003c/em>, a retrospective of Villa’s work at the Asian Art Museum of San Francisco.\u003c/p>\n\u003cp>That response inspired Villa to go beyond his own art, and make it his mission to help other artists of color.\u003c/p>\n\u003cp>“His whole career was trying to focus on filling in that story both for himself and for artists in the future,” said Johnson.\u003c/p>\n\u003cfigure id=\"attachment_13919900\" class=\"wp-caption aligncenter\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png\" alt=\"A Filipino American man dressed in black pants and hoodie sits low to the ground on the edge of a surreal sculpture. \" width=\"436\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989.png 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image002_custom-d721e911d260cfd5489f8b938a71adf7a484b989-160x136.png 160w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Carlos Villa in his studio, 1985. \u003ccite>(Patricia Arian/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Villa died in 2013, but his legacy continues. As a professor at the San Francisco Art Institute for four decades and a powerful community organizer and mentor, Villa had an outsize impact on dozens of younger artists. His students included Obama portraitist Kehinde Wiley and Mission School art pioneer Barry McGee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Villa devoted his career to uplifting others, but now he is getting his due as an artist in his own right: The exhibition at the Asian Art Museum is the first in the country to give a Filipino American artist a major retrospective.\u003c/p>\n\u003cp>It includes the artist’s paintings and installations, many of which explore multiculturalism, decolonization and Filipino identity, like his resplendent feathered capes, evoking both the vestments of Villa’s Catholic youth in San Francisco and robes worn by the Hawaiian aristocracy. A \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/carlos-villa-roots-and-reinvention\" target=\"_blank\" rel=\"noopener noreferrer\">companion exhibition\u003c/a> at the San Francisco Arts Commission features his later works, and an earlier iteration, which included both shows, closed at the Newark Museum of Art in May.\u003c/p>\n\u003cfigure id=\"attachment_13919907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png\" alt=\"\" width=\"800\" height=\"353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-800x353.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1020x450.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-768x339.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1536x677.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-2048x903.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.55.56-AM-1920x847.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Carlos Villa’s feathered capes, on view in the exhibition. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Asian Art Museum show also features pieces by his protégés. For example, a vintage motorcycle and side-car—a typical way Filipinos get around—tricked-out with sparkly lights, bright pom-poms and a karaoke machine, created by two former students, Filipino Americans Michael Arcega and Paolo Asuncion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the motorcycle tools around the Bay Area. But behind the fun is a serious political message about making space for Filipino American voices. “We want to signal that we are around and present,” Arcega said.\u003c/p>\n\u003cp>Arcega said this use of art as \u003cem>literally \u003c/em>a vehicle for increasing Filipino visibility was inspired by Villa, who thought street life should be an inspiration for art.\u003c/p>\n\u003cfigure id=\"attachment_13919908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-10.59.25-AM.png 1492w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘TNT Traysikel’—a tricked-out motorcycle side-car installation by artists Paolo Asuncion and Michael Arcega on display at the Asian Art Museum. \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came into visual arts through graffiti art and have kind of carried that pride because of Carlos to this project,” Arcega said.\u003c/p>\n\u003cp>New York-based Filipino American artist Paul Pfeiffer also studied with Villa. He said his mentor worked to increase the visibility of artists of color in the white-dominated art world by organizing a slew of landmark conferences starting in the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those conferences changed his life. “It felt like the first time that I was seeing a kind of conversation about art and art history that felt like it included me,” Pfeiffer said.\u003c/p>\n\u003cp>Today, Pfeiffer is an internationally-recognized political artist with work in the collection of New York’s Guggenheim Museum.\u003c/p>\n\u003cp>His video installation in the exhibit shows a boxing match in which one of the contenders—prize-fighter-turned-politician Manny Pacquiao—faces off against an opponent whose presence on screen has been erased by the artist. The piece explores the Filipino body under assault, fighting invisible forces.\u003c/p>\n\u003cp>Pfeiffer said Villa helped to shape his political awakening. “He opened the door,” Pfeiffer said. “He clued me into it.”\u003c/p>\n\u003cfigure id=\"attachment_13919909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png\" alt=\"Lilac curtains on a back wall frame lilac oblong boxes with small sculptures on and TV screens showing yellow humanoid figures at a dinner table, taken at different angles.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-1020x654.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-30-at-11.02.51-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mail Order Brides’ installation at the Asian Art Museum, ‘Chatsilog Revisited.’ \u003ccite>(Kevin Candland/Asian Art Museum, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reanne Estrada, an artist in Los Angeles, said another of Villa’s superpowers was bringing young artists together. “He exposed me to a different way of thinking about how to be an artist,” Estrada said. “How you connect with other people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Estrada is part of the surrealist art collective Mail Order Brides. She said the Brides came into being nearly 30 years ago when Villa introduced her to fellow Filipina Americans Eliza Barrios and Jenifer Wofford.\u003c/p>\n\u003cp>The Brides’ multimedia installation in the exhibition playfully pays tribute to their mentor. Villa’s face beams from a video screen, as footage on nearby screens shows Estrada, Barrios and Wofford bumbling around a kitchen making the traditional Filipino breakfast dish silog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Even after decades of working together, we’re still a bunch of slightly wacky ladies wearing granny panties and egg aprons,” Estrada said. “Carlos would be proud to know some things don’t change.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+Filipino+American+artist+influenced+the+work+of+a+generation+of+others&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The morning of July 15, five BFA students stood in the San Francisco Art Institute’s Diego Rivera Gallery, talking about their work. They’d received their diplomas three days earlier in a small, bittersweet ceremony on the Chestnut Street campus’ brutalist rooftop. Now they were fielding critiques and questions from a group of three arts professionals, myself included.\u003c/p>\n\u003cp>Besides the gloomy superlative of comprising the entirety of the “last BFA class” in SFAI’s storied 151-year history, these five students are like so many of the SFAI students I’ve met over the years: dedicated artists, excited to move forward in their practices, and in possession of a healthy disdain for all things conventional and institutional. \u003c/p>\n\u003cp>Over the past two years, SFAI students, staff and faculty have experienced a pandemic, a closed campus, remote art instruction, transfers, layoffs, and foreclosure proceedings. Finally, as \u003ca href=\"https://sfai.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> during that BFA show critique, they witnessed the official end of SFAI’s academic programs. \u003c/p>\n\u003cp>[aside postID='arts_13908825']A hoped-for “\u003ca href=\"https://www.kqed.org/arts/13908825/sfai-usf-merger-sale\" rel=\"noopener noreferrer\" target=\"_blank\">merger\u003c/a>” with the University of San Francisco, first reported in early February, had fallen through. All staff and faculty were terminated. The Board of Trustees planned to form a nonprofit foundation to protect the school’s history and archives. The students who were able to finish their degrees in an accelerated summer program took down their shows and packed up their art, the school’s doors closing behind them. \u003c/p>\n\u003cp>Yet even at this juncture, while SFAI is describing itself in funereal terms, a small group of students is working with the Board of Trustees to save the institution. \u003ca href=\"https://sfanow.wixsite.com/my-site-1\" rel=\"noopener noreferrer\" target=\"_blank\">Students For Action\u003c/a>, led by a core trio of Grey Dey, Kristin Gundlach and Bianca Lago, hopes to raise $25 million before Aug. 15, an amount they believe will create a three-year pathway for the school. Ultimately, the goal is to stave off bankruptcy, hibernate until fall 2023, restructure, and reopen as an accredited degree-granting institution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This type of hope is the story of SFAI, over and over again. Even when circumstances appear dire, those who believe in the school’s mission—and stand to be most derailed by its closure—step up for yet another last-ditch effort. After the news of July 15, while mournful alums posted on social media, Dey, Gunlach and Lago sent emails and scheduled fundraising meetings. \u003c/p>\n\u003cp>“SF without SFAI is just unimaginable,” Dey says.\u003c/p>\n\u003cfigure id=\"attachment_13841230\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Courtyard.jpg\" alt=\"Crowds in the North Beach campus' courtyard during SFAI's 2016 commencement celebrations.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13841230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Crowds in the North Beach campus’ courtyard during SFAI’s 2016 commencement celebrations. \u003ccite>(Claudine Gosset)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The hope, of course, is that some miracle happens’\u003c/h2>\n\u003cp>Students for Action formed in the wake of a meeting in early May, when it became clear that the acquisition negotiations between USF and SFAI were not going as planned. “We realized that the board had their hands tied and there was a very small number of people that were able to really help,” Lago says. “We felt that there were alternative routes that we could take.”\u003c/p>\n\u003cp>What Lago’s referring to is the January letter of intent that required SFAI to negotiate with USF exclusively until June 30. “They were technically allowed to fundraise,” Gundlach says, “but part of the LOI required them to do their best to make sure that the negotiations would go through and that USF and SFAI would both benefit.” The students, however, were not bound by this agreement.\u003c/p>\n\u003cp>[aside postID='arts_13892120']Many ad hoc groups have formed around SFAI over the past two years, after the school first announced plans to halt enrollment and transfer its remaining students elsewhere. Those include the remarkable grassroots undertaking of the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" rel=\"noopener noreferrer\" target=\"_blank\">Reimagine Committee\u003c/a> and a brief flirtation with a class-action lawsuit, but Students for Action says they’re taking an altogether different approach. \u003c/p>\n\u003cp>While all three have plenty of reasons to feel misled by SFAI leadership (Gundlach and Lago are halfway through their two-year MFA degrees, and Dey was set to receive a BFA in spring 2023), they are now working in conjunction with the Board of Trustees.\u003c/p>\n\u003cp>“What’s really different this time is the emphasis on collaborative pathways and how we’re looking to restructure the school not only administratively, but also as a center of the arts in San Francisco,” Dey says. They’re open to working with tech companies, government entities and other nonprofits. The nonprofit Bridge Span has committed to helping restructure the school if they can secure the funding to continue. And while $25 million is the goal, Students for Action is mindful that’s a big number. \u003c/p>\n\u003cp>“The hope, of course, is that some miracle happens and we have the $25 million and we can work with that in our hands and reshape everything,” Gundlach says. If that’s not achievable, directing any and all funds towards the preservation of the school’s archives is their top priority. \u003c/p>\n\u003cp>The group is working towards an Aug. 15 deadline with the understanding that the school will be forced to to declare bankruptcy on this date. (When questioned on this detail, SFAI’s spokesperson could not confirm that outcome.)\u003c/p>\n\u003cfigure id=\"attachment_13916524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/LostMural_1200.jpg\" alt=\"Two figures with their backs to camera point at wall with some revealed painting portions\" width=\"1200\" height=\"924\" class=\"size-full wp-image-13916524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Former SFAI presient Gordon Knox (left) and conservator Molly Lambert (right) show the partially revealed work of ‘Marble Workers’ (1935) by Frederick Olmsted, Jr. at SFAI in 2019. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fate of the archives\u003c/h2>\n\u003cp>“This has not been determined” was, in fact, a repeated answer to my questions on a number of topics. Those included: Will the campus reopen for visitors to admire the architecture and Diego Rivera fresco? What will become of the other “\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/long-lost-new-deal-era-fresco-at-sf-art-institute-to-be-brought-to-light\" rel=\"noopener noreferrer\" target=\"_blank\">lost murals\u003c/a>” on campus, all in various states of conservation? Who will run the foundation overseeing SFAI’s legacy? If the school is unable to maintain its lease on the Chestnut Street campus, where will SFAI’s archives move?\u003c/p>\n\u003cp>[aside postID='arts_13889433']The archives are of particular concern, and not just because they hold the tangible history of the school and the art movements it spawned. Earlier this year, the National Endowment for the Humanities awarded SFAI a $234,820 grant to rehouse the institution’s 544 linear feet of archival material. That project includes digitizing 23 hours of “at-risk audiovisual materials,” to be made available via the Internet Archive.\u003c/p>\n\u003cp>But now even this very necessary undertaking is an unknown. “In the coming weeks,” the SFAI spokesperson explained, “SFAI will work with the National Endowment for the Humanities to determine if and how SFAI can utilize their grant to support SFAI’s Archives.”\u003c/p>\n\u003cp>The one definitive answer I received about SFAI’s future came on the subject of the courtyard fountain’s two residents: “SFAI security has been and will continue to feed the turtles.”\u003c/p>\n\u003cfigure id=\"attachment_13878515\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg\" alt=\"\" width=\"1200\" height=\"1329\" class=\"size-full wp-image-13878515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-800x886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-768x851.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-1020x1130.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘The Making fo a Fresco Showing the Building of a City,’ 1931. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diego Rivera stays, SFAI fades\u003c/h2>\n\u003cp>While Students For Action refuse to throw in the towel, the obituaries for SFAI proliferate. I think for many—especially those who have been personally affected by the school’s ups and (mostly) downs—hearing something conclusive about SFAI’s fate is a relief. \u003c/p>\n\u003cp>[aside postID='arts_13878509']If SFAI cannot afford to pay for rent, utilities and security on their campuses, they will lose their leases. And while SFAI still owns the Diego Rivera fresco, the University of California now owns the Chestnut Street building. A loss of their lease is also a loss of the Diego Rivera, their most valuable asset. \u003c/p>\n\u003cp>What will also be lost—as I have said \u003ca href=\"https://www.kqed.org/arts/13878509/the-san-francisco-art-institute-will-never-be-what-it-once-was\" rel=\"noopener noreferrer\" target=\"_blank\">many times before\u003c/a>—is the energizing spirit of the SFAI community as it spilled beyond campus and into conversation with the issues, people and institutions of the Bay Area. It’s a legacy that can be gleaned from archives and stories, but in the years to come, as the school remains closed and its faculty scatter to the wind, that influence will slowly fade from the local art scene.\u003c/p>\n\u003cp>In their fight for the school’s future, Dey, Gundlach and Lago have become a metaphor for this spirit. “Once upon a time, each one of us was applying to this giant of an arts institution to become better artists,” Dey says. But going through this upheaval in the company of other SFAI students, alums, faculty and staff has turned them into activists, administrators and organizers. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what SFAI does,” Lago says, even when there’s so little of SFAI left to point to. “It teaches you the value of community.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The morning of July 15, five BFA students stood in the San Francisco Art Institute’s Diego Rivera Gallery, talking about their work. They’d received their diplomas three days earlier in a small, bittersweet ceremony on the Chestnut Street campus’ brutalist rooftop. Now they were fielding critiques and questions from a group of three arts professionals, myself included.\u003c/p>\n\u003cp>Besides the gloomy superlative of comprising the entirety of the “last BFA class” in SFAI’s storied 151-year history, these five students are like so many of the SFAI students I’ve met over the years: dedicated artists, excited to move forward in their practices, and in possession of a healthy disdain for all things conventional and institutional. \u003c/p>\n\u003cp>Over the past two years, SFAI students, staff and faculty have experienced a pandemic, a closed campus, remote art instruction, transfers, layoffs, and foreclosure proceedings. Finally, as \u003ca href=\"https://sfai.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> during that BFA show critique, they witnessed the official end of SFAI’s academic programs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A hoped-for “\u003ca href=\"https://www.kqed.org/arts/13908825/sfai-usf-merger-sale\" rel=\"noopener noreferrer\" target=\"_blank\">merger\u003c/a>” with the University of San Francisco, first reported in early February, had fallen through. All staff and faculty were terminated. The Board of Trustees planned to form a nonprofit foundation to protect the school’s history and archives. The students who were able to finish their degrees in an accelerated summer program took down their shows and packed up their art, the school’s doors closing behind them. \u003c/p>\n\u003cp>Yet even at this juncture, while SFAI is describing itself in funereal terms, a small group of students is working with the Board of Trustees to save the institution. \u003ca href=\"https://sfanow.wixsite.com/my-site-1\" rel=\"noopener noreferrer\" target=\"_blank\">Students For Action\u003c/a>, led by a core trio of Grey Dey, Kristin Gundlach and Bianca Lago, hopes to raise $25 million before Aug. 15, an amount they believe will create a three-year pathway for the school. Ultimately, the goal is to stave off bankruptcy, hibernate until fall 2023, restructure, and reopen as an accredited degree-granting institution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This type of hope is the story of SFAI, over and over again. Even when circumstances appear dire, those who believe in the school’s mission—and stand to be most derailed by its closure—step up for yet another last-ditch effort. After the news of July 15, while mournful alums posted on social media, Dey, Gunlach and Lago sent emails and scheduled fundraising meetings. \u003c/p>\n\u003cp>“SF without SFAI is just unimaginable,” Dey says.\u003c/p>\n\u003cfigure id=\"attachment_13841230\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Courtyard.jpg\" alt=\"Crowds in the North Beach campus' courtyard during SFAI's 2016 commencement celebrations.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13841230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Crowds in the North Beach campus’ courtyard during SFAI’s 2016 commencement celebrations. \u003ccite>(Claudine Gosset)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The hope, of course, is that some miracle happens’\u003c/h2>\n\u003cp>Students for Action formed in the wake of a meeting in early May, when it became clear that the acquisition negotiations between USF and SFAI were not going as planned. “We realized that the board had their hands tied and there was a very small number of people that were able to really help,” Lago says. “We felt that there were alternative routes that we could take.”\u003c/p>\n\u003cp>What Lago’s referring to is the January letter of intent that required SFAI to negotiate with USF exclusively until June 30. “They were technically allowed to fundraise,” Gundlach says, “but part of the LOI required them to do their best to make sure that the negotiations would go through and that USF and SFAI would both benefit.” The students, however, were not bound by this agreement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many ad hoc groups have formed around SFAI over the past two years, after the school first announced plans to halt enrollment and transfer its remaining students elsewhere. Those include the remarkable grassroots undertaking of the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" rel=\"noopener noreferrer\" target=\"_blank\">Reimagine Committee\u003c/a> and a brief flirtation with a class-action lawsuit, but Students for Action says they’re taking an altogether different approach. \u003c/p>\n\u003cp>While all three have plenty of reasons to feel misled by SFAI leadership (Gundlach and Lago are halfway through their two-year MFA degrees, and Dey was set to receive a BFA in spring 2023), they are now working in conjunction with the Board of Trustees.\u003c/p>\n\u003cp>“What’s really different this time is the emphasis on collaborative pathways and how we’re looking to restructure the school not only administratively, but also as a center of the arts in San Francisco,” Dey says. They’re open to working with tech companies, government entities and other nonprofits. The nonprofit Bridge Span has committed to helping restructure the school if they can secure the funding to continue. And while $25 million is the goal, Students for Action is mindful that’s a big number. \u003c/p>\n\u003cp>“The hope, of course, is that some miracle happens and we have the $25 million and we can work with that in our hands and reshape everything,” Gundlach says. If that’s not achievable, directing any and all funds towards the preservation of the school’s archives is their top priority. \u003c/p>\n\u003cp>The group is working towards an Aug. 15 deadline with the understanding that the school will be forced to to declare bankruptcy on this date. (When questioned on this detail, SFAI’s spokesperson could not confirm that outcome.)\u003c/p>\n\u003cfigure id=\"attachment_13916524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/LostMural_1200.jpg\" alt=\"Two figures with their backs to camera point at wall with some revealed painting portions\" width=\"1200\" height=\"924\" class=\"size-full wp-image-13916524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/LostMural_1200-768x591.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Former SFAI presient Gordon Knox (left) and conservator Molly Lambert (right) show the partially revealed work of ‘Marble Workers’ (1935) by Frederick Olmsted, Jr. at SFAI in 2019. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fate of the archives\u003c/h2>\n\u003cp>“This has not been determined” was, in fact, a repeated answer to my questions on a number of topics. Those included: Will the campus reopen for visitors to admire the architecture and Diego Rivera fresco? What will become of the other “\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/long-lost-new-deal-era-fresco-at-sf-art-institute-to-be-brought-to-light\" rel=\"noopener noreferrer\" target=\"_blank\">lost murals\u003c/a>” on campus, all in various states of conservation? Who will run the foundation overseeing SFAI’s legacy? If the school is unable to maintain its lease on the Chestnut Street campus, where will SFAI’s archives move?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The archives are of particular concern, and not just because they hold the tangible history of the school and the art movements it spawned. Earlier this year, the National Endowment for the Humanities awarded SFAI a $234,820 grant to rehouse the institution’s 544 linear feet of archival material. That project includes digitizing 23 hours of “at-risk audiovisual materials,” to be made available via the Internet Archive.\u003c/p>\n\u003cp>But now even this very necessary undertaking is an unknown. “In the coming weeks,” the SFAI spokesperson explained, “SFAI will work with the National Endowment for the Humanities to determine if and how SFAI can utilize their grant to support SFAI’s Archives.”\u003c/p>\n\u003cp>The one definitive answer I received about SFAI’s future came on the subject of the courtyard fountain’s two residents: “SFAI security has been and will continue to feed the turtles.”\u003c/p>\n\u003cfigure id=\"attachment_13878515\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg\" alt=\"\" width=\"1200\" height=\"1329\" class=\"size-full wp-image-13878515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-800x886.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-768x851.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/04_The-Making-of-a-Fresco_1200-1020x1130.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diego Rivera, ‘The Making fo a Fresco Showing the Building of a City,’ 1931. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diego Rivera stays, SFAI fades\u003c/h2>\n\u003cp>While Students For Action refuse to throw in the towel, the obituaries for SFAI proliferate. I think for many—especially those who have been personally affected by the school’s ups and (mostly) downs—hearing something conclusive about SFAI’s fate is a relief. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If SFAI cannot afford to pay for rent, utilities and security on their campuses, they will lose their leases. And while SFAI still owns the Diego Rivera fresco, the University of California now owns the Chestnut Street building. A loss of their lease is also a loss of the Diego Rivera, their most valuable asset. \u003c/p>\n\u003cp>What will also be lost—as I have said \u003ca href=\"https://www.kqed.org/arts/13878509/the-san-francisco-art-institute-will-never-be-what-it-once-was\" rel=\"noopener noreferrer\" target=\"_blank\">many times before\u003c/a>—is the energizing spirit of the SFAI community as it spilled beyond campus and into conversation with the issues, people and institutions of the Bay Area. It’s a legacy that can be gleaned from archives and stories, but in the years to come, as the school remains closed and its faculty scatter to the wind, that influence will slowly fade from the local art scene.\u003c/p>\n\u003cp>In their fight for the school’s future, Dey, Gundlach and Lago have become a metaphor for this spirit. “Once upon a time, each one of us was applying to this giant of an arts institution to become better artists,” Dey says. But going through this upheaval in the company of other SFAI students, alums, faculty and staff has turned them into activists, administrators and organizers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what SFAI does,” Lago says, even when there’s so little of SFAI left to point to. “It teaches you the value of community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Art Institute and the University of San Francisco announced today a plan to “integrate operations and academic programs.” USF, a private Jesuit university with a student body of just over 10,000, will pay an undisclosed amount for the sale of the 151-year-old art school. \u003c/p>\n\u003cp>The sale will include SFAI’s historical buildings, art and film collections, and assets. A program called SFAI@USF will begin in the fall semester, offering continuing SFAI students access to USF’s “academic and co-curricular services, opportunities, and support.”\u003c/p>\n\u003cp>Today’s announcement is the first official mention of long-rumored merger negotiations between the two schools. In 2020, SFAI explained that talks stalled with an unnamed larger institution when the coronavirus pandemic hit.\u003c/p>\n\u003cp>The “integration” follows a similar move at \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\" rel=\"noopener noreferrer\" target=\"_blank\">Mills College\u003c/a>, which will become “Mills College at Northeastern University.” That change will take effect around July 2022.\u003c/p>\n\u003cp>In a statement provided to KQED, USF says faculty and staff are a priority during this period of due diligence before the sale is finalized. “Part of the potential framework would allow current SFAI full-time faculty to join USF as members of the USF (full-time) Faculty Association,” USF says, “and to retain their rank and tenure status.” SFAI adjunct faculty would need to apply for open positions at USF, with no guarantee of employment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13878509']SFAI’s future has been in question since March 2020. Facing budget shortfalls and decreased enrollment, SFAI announced that it would not be enrolling new students for the fall 2020 semester. The art school began encouraging students who could not complete their degrees before May to transfer elsewhere, preparing their staff and faculty for mass layoffs.\u003c/p>\n\u003cp>In the nearly two years since, SFAI has remained open in a limited capacity, offering classes to a greatly reduced student body. Current enrollment is just 56 students. In a statement provided to KQED, SFAI said, “Joining with USF would provide new opportunities for SFAI students while stabilizing SFAI’s future.”\u003c/p>\n\u003cp>In October 2020, the University of California Regents saved SFAI from foreclosure by buying SFAI’s $19.7 million debt from a private bank. Per that agreement, the UC Regents are currently the landlords for the art school’s Chestnut Street campus. If the sale to USF proceeds as planned, USF will assume responsibility for the Chestnut Street campus and its assets, including the Diego Rivera mural, which the Board of Supervisors voted to bestow landmark designation upon in January 2021.\u003c/p>\n\u003cp>It is unclear if the tenant agreement with the UC Regents will continue after the sale. USF said the school “is in communication with the UC Regents regarding their ongoing organizational relationship with SFAI and the resolution of any outstanding financial obligations going forward.”\u003c/p>\n\u003cp>SFAI also holds a 60-year lease on a Fort Mason campus, a space that has been rented out since the pandemic to other nonprofit organizations, including the Hamlin School, and used for temporary exhibitions by the Svane Family Foundation and Gallery Wendi Norris. USF said the school will explore options for the property in consultation with SFAI and Fort Mason Center. According to SFAI, “The intention is for all students and faculty to benefit from the quality assets and facilities at SFAI, including Fort Mason in the future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFAI Board Chair Lonnie Graham is quoted in the announcement saying, “This union would create an innovative confluence of the arts and academics to advance a curriculum that reinforces the value of the arts in changing the world.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Art Institute and the University of San Francisco announced today a plan to “integrate operations and academic programs.” USF, a private Jesuit university with a student body of just over 10,000, will pay an undisclosed amount for the sale of the 151-year-old art school. \u003c/p>\n\u003cp>The sale will include SFAI’s historical buildings, art and film collections, and assets. A program called SFAI@USF will begin in the fall semester, offering continuing SFAI students access to USF’s “academic and co-curricular services, opportunities, and support.”\u003c/p>\n\u003cp>Today’s announcement is the first official mention of long-rumored merger negotiations between the two schools. In 2020, SFAI explained that talks stalled with an unnamed larger institution when the coronavirus pandemic hit.\u003c/p>\n\u003cp>The “integration” follows a similar move at \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\" rel=\"noopener noreferrer\" target=\"_blank\">Mills College\u003c/a>, which will become “Mills College at Northeastern University.” That change will take effect around July 2022.\u003c/p>\n\u003cp>In a statement provided to KQED, USF says faculty and staff are a priority during this period of due diligence before the sale is finalized. “Part of the potential framework would allow current SFAI full-time faculty to join USF as members of the USF (full-time) Faculty Association,” USF says, “and to retain their rank and tenure status.” SFAI adjunct faculty would need to apply for open positions at USF, with no guarantee of employment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>SFAI’s future has been in question since March 2020. Facing budget shortfalls and decreased enrollment, SFAI announced that it would not be enrolling new students for the fall 2020 semester. The art school began encouraging students who could not complete their degrees before May to transfer elsewhere, preparing their staff and faculty for mass layoffs.\u003c/p>\n\u003cp>In the nearly two years since, SFAI has remained open in a limited capacity, offering classes to a greatly reduced student body. Current enrollment is just 56 students. In a statement provided to KQED, SFAI said, “Joining with USF would provide new opportunities for SFAI students while stabilizing SFAI’s future.”\u003c/p>\n\u003cp>In October 2020, the University of California Regents saved SFAI from foreclosure by buying SFAI’s $19.7 million debt from a private bank. Per that agreement, the UC Regents are currently the landlords for the art school’s Chestnut Street campus. If the sale to USF proceeds as planned, USF will assume responsibility for the Chestnut Street campus and its assets, including the Diego Rivera mural, which the Board of Supervisors voted to bestow landmark designation upon in January 2021.\u003c/p>\n\u003cp>It is unclear if the tenant agreement with the UC Regents will continue after the sale. USF said the school “is in communication with the UC Regents regarding their ongoing organizational relationship with SFAI and the resolution of any outstanding financial obligations going forward.”\u003c/p>\n\u003cp>SFAI also holds a 60-year lease on a Fort Mason campus, a space that has been rented out since the pandemic to other nonprofit organizations, including the Hamlin School, and used for temporary exhibitions by the Svane Family Foundation and Gallery Wendi Norris. USF said the school will explore options for the property in consultation with SFAI and Fort Mason Center. According to SFAI, “The intention is for all students and faculty to benefit from the quality assets and facilities at SFAI, including Fort Mason in the future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFAI Board Chair Lonnie Graham is quoted in the announcement saying, “This union would create an innovative confluence of the arts and academics to advance a curriculum that reinforces the value of the arts in changing the world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Anniversary Show, Alumni Address SFAI’s Complex 150-Year Legacy",
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"content": "\u003cp>The \u003ca href=\"https://sfai.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a> (SFAI) turns 150 years old this month, and as one might expect of an institution that’s managed to survive multiple earthquakes, socio-political upheavals, and economic bubbles and recessions, its legacy is complicated.\u003c/p>\n\u003cp>Just ask the alumni with work featured in SFAI’s upcoming 150th anniversary exhibition \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>A Spirit of Disruption\u003c/i>\u003c/a>:\u003c/p>\n\u003cp>“I have mixed emotions when I think about SFAI,” says ceramicist \u003ca href=\"https://cathyclu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Lu\u003c/a>, who earned her MFA from the school in 2010. “I want to hug the building. The faculty and students are great. But then there’s all that weird stuff that makes me want to look away.”\u003c/p>\n\u003cp>“It was a really special place for me,” says interdisciplinary artist \u003ca href=\"https://www.pabloguardiola.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pablo Guardiola\u003c/a> (MFA 2005). “But I have a lot of issues with the school.”\u003c/p>\n\u003cp>“It’s a little perplexing,” says transdisciplinary artist \u003ca href=\"https://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Green\u003c/a> (BFA 2009). “It feels warm to have gotten to be a part of that experience, but it was also very complicated, sometimes very difficult, to be in the environment of the school.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“SFAI was a whole new world. I was able to meet people from all over, exchange ideas and be part of very interesting conversations. My practice truly expanded during my time there,” says multimedia artist \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a> (MFA 2016). “But I hope it will treat its adjunct staff and student body with the respect and dignity they deserve.”\u003c/p>\n\u003cp>These former students’ bifurcated feelings about their alma mater are understandable.\u003c/p>\n\u003cfigure id=\"attachment_13893883\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg\" alt=\"\" width=\"1200\" height=\"1125\" class=\"size-full wp-image-13893883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-768x720.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Xylor Jane, ‘Via Crucis II Cross,’ 2010; Oil on panel. \u003ccite>(Collection of Penny Cooper and Rena Rosenwasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bifurcated Reputation\u003c/h2>\n\u003cp>On the one hand, there’s SFAI’s staggering global reputation and influence. SFAI was a hub for Abstract Expressionism, the Mission School, the Bay Area Figurative Movement and Funk Art. Its faculty included Ansel Adams, Dorothea Lange, Angela Davis and Richard Diebenkorn. Annie Leibovitz, Catherine Opie, Kehinde Wiley, Barry McGee and Rigo 23 all studied there. And the school has long been celebrated for its tight-knit sense of community and spirit of wild experimentation.\u003c/p>\n\u003cp>“SFAI holds a special place in the collective arts world,” says Taylor Dafoe, a reporter at \u003ca href=\"https://news.artnet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Artnet News\u003c/a> who has written extensively about art education in this country. “For a lot of people, it represents this kind of platonic ideal of what an art school is: a funky, hyper-liberal West Coast bastion of creativity, where pieces of performance art are being staged in the hallways, dorm rooms are turned into studios and things like that.”\u003c/p>\n\u003cp>On the other hand, there’s the fallout from decades of ongoing financial struggles. Shrinking enrollment, rising tuition, job losses, failed merger attempts, costly building expansions and threats of closure have pushed SFAI to the brink.\u003c/p>\n\u003cp>[aside postID='arts_13878509']This past year, fueled in part by the coronavirus pandemic, SFAI almost fell over that brink. Last spring, the school announced it would stop enrolling new students. The president stepped down and many adjunct faculty members were laid off. In the fall, the University of California purchased the school’s $19.7 million debt from a private bank, thereby becoming the landlord of SFAI’s historic Chestnut Street campus.\u003c/p>\n\u003cp>Then, right at the end of last year came a pair of widely-criticized moves by the school’s board of trustees: they considered selling off SFAI’s prized Diego Rivera mural (that possibility was upended at least for now by a \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Board of Supervisors decision\u003c/a> to confer landmark status on the artwork) and voted to spend $1.5 million of the school’s $5.4 million in investments and unrestricted endowment.\u003c/p>\n\u003cp>“Its future does not look promising at this point,” Dafoe says, adding that other art schools in North America, such as the Nova Scotia College of Art and Design in Halifax, Canada and the Watkins College of Art in Nashville, Tennessee, have been facing similar travails. “It’s worth noting, though, that none of these schools have had the reputation or generational influence that SFAI has had throughout its history.”\u003c/p>\n\u003cfigure id=\"attachment_13893885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13893885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-curators Margaret Tedesco and Leila Weefur at SFAI’s historic Chestnut Campus, 2020. \u003ccite>(Photo by Alex Peterson; courtesy of San Francisco Art Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Third Way\u003c/h2>\n\u003cp>Faced with the unenviable task of putting together a landmark art show against the backdrop of these two somewhat competing realities, the curators of \u003cem>A Spirit of Disruption\u003c/em> are interested in presenting the school’s legacy in a third way.\u003c/p>\n\u003cp>“The concept behind curating this exhibition is to disrupt the history,” says Oakland artist, curator and former SFAI faculty member \u003ca href=\"http://www.leilaweefur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leila Weefur\u003c/a>, who co-curated the exhibition. “We don’t want the financial turbulence to overshadow this amazing milestone for both the artists and for the institution, and we’re dedicated to making sure that we pay very close attention to which artists in SFAI’s 150-year history have not been a priority in the visibility of the school.”\u003c/p>\n\u003cp>“It’s an invitation to read between the lines,” says fellow co-curator, longtime SFAI staffer and educator Margaret Tedesco.\u003c/p>\n\u003cp>[aside postID='arts_13889433']Between a gallery show and a video archive, Weefur and Tedesco have selected the work of close to 200 artists—all of them with connections to the institution from its recent and long-distant past—for \u003cem>A Spirit of Disruption\u003c/em>, which opens both online and at the school’s Chestnut Street campus on March 19. Their selections stand in stark contrast to the majority of the artists previously celebrated during the school’s history, whom the curators say have mostly been white and cis-gendered. (This is possibly reflective of SFAI’s historical demographics, though the latest data shared by the school shows increased racial diversity in faculty and students between 2010 and 2019.)\u003c/p>\n\u003cp>Green engages her queer and trans identities through sculptures of mushrooms. “I think about fungi as this kind of metaphor for otherness,” Green says. “The mushroom itself is the fruiting body of the organism, and in my work, I’m exploring this form as a stand in for the queer body, or even as queerness itself.”\u003c/p>\n\u003cp>Lu’s background growing up in an Asian family around everyday and exotic produce in the grocery stores of Miami, Florida informs her large-scale artwork featuring various ceramic fruits.\u003c/p>\n\u003cfigure id=\"attachment_13893582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893582 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg\" alt=\"\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Customs Declaration’ by Cathy Lu. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the fruits as a metaphor for immigrants,” says Lu. “The reason why those foods are there is because the immigrants who moved there wanted to eat those foods. A lot of the foods that we think of as American are actually not native to the U.S.”\u003c/p>\n\u003cp>Tedesco and Weefur also pay homage to underrepresented community members from SFAI’s less recent past, such as the artist’s model, educator, journalist and activist Florence Wysinger Allen.\u003c/p>\n\u003cp>Allen was born in Oakland in 1913 and went on to become a pivotal figure in San Francisco’s artistic scene until she passed away in 1997. She sat for artists like David Park and Wayne Thiebaud, and helped found the San Francisco Models’ Guild, which paved the way for higher wages for people in her profession. All of this at a time when Black models were extremely rare.\u003c/p>\n\u003cp>“Flo Wysinger held quite a large presence on the campus and in the Bay Area,” says Tedesco. “She was quite an entrepreneur, very forthright, loved the body as the form for the benefit of all the artists that she served.”\u003c/p>\n\u003cp>The curators say that despite Allen’s status as a local celebrity, she often wasn’t given the respect she deserved. Like most artist’s models, her name was often omitted from curatorial materials and she was looked down on in the media.\u003c/p>\n\u003cfigure id=\"attachment_13893878\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13893878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Philipp Weisman, ‘Untitled,’ 1955. An oil painting believed to depict Florence Wysinger Allen. \u003ccite>(Courtesy Pam Martin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s very objectified,” says Weefur.\u003c/p>\n\u003cp>“For instance, we have newspaper articles that refer to things like her ‘caramely, chocolaty body,’” Tedesco explains.\u003c/p>\n\u003cp>“And I think at the time we didn’t have the language for how a lot of the white men she was working with were framing her in the works that she was contributing her body to,” Weefur says, adding that Allen is the subject of an entire episode in the 10-part podcast series the curators are putting together to accompany the exhibition.\u003c/p>\n\u003ch2>Uncertain Future\u003c/h2>\n\u003cp>While \u003cem>A Spirit of Disruption\u003c/em> may help the public engage with a more nuanced version of SFAI’s past, the school’s future remains uncertain.\u003c/p>\n\u003cp>Many of the featured artists know that SFAI’s fiscal struggles are nothing new. Yet they’re still deeply shocked at the present set of circumstances and worried about what lies ahead.\u003c/p>\n\u003cp>“To lose the San Francisco Art Institute, a major institution not only in the United States but across the world, would be a disaster,” says artist \u003ca href=\"https://anglimgilbertgallery.com/mildred-howard/#ms-5957\" rel=\"noopener noreferrer\" target=\"_blank\">Mildred Howard\u003c/a>, who served on the school’s faculty from 1998 to 2015 and was an artist’s model at SFAI starting in the 1970s.\u003c/p>\n\u003cp>Howard was among the group of people who were \u003cem>for\u003c/em> the sale of the Rivera mural. “I truly believe that Diego Rivera thought that if that mural that he painted would save an institution, selling it would be just fine.” Howard says art is a business, not just a passion, so she’s dismayed about the outcry against the sale.\u003c/p>\n\u003cp>“There’s so many people that don’t understand how art can be used,” Howard says. “I don’t think they truly understand the larger picture of the San Francisco Art Institute and its importance to this country and to the world of art.”\u003c/p>\n\u003cp>[aside postID='arts_13892120']In an email to KQED, a school spokesperson said the board has a fiduciary responsibility to consider all options and scenarios to secure the future of SFAI, but no determinations have been made regarding a possible endowment or sale of artworks, including the Rivera mural, or other assets. The email stated that SFAI aims to raise $19 million within the next six years to purchase the Chestnut Street campus from the University of California. If SFAI cannot pay off or refinance that amount by 2026, UC takes possession of the campus and SFAI must vacate the premises.\u003c/p>\n\u003cp>“That will mean moving ahead aggressively on four fronts: rebuilding enrollment to pre-pandemic levels, maintaining our fundraising momentum, developing new revenue streams that will include leasing out all or part of the Fort Mason campus, and refinancing Chestnut Street with a long-term traditional real estate-backed mortgage enabling SFAI to repurchase the campus and pay it off over 30 years,” the spokesperson said. “These are ambitious goals, but they are achievable if the staff, faculty, alumni and board work together with the support of the philanthropic community.”\u003c/p>\n\u003cp>But some artists say the school hasn’t shown much interest in taking an inclusive approach to solving its problems thus far. Guardiola says the board should listen more carefully to the diverse voices in the school’s community—at the very least to the board-initiated group of alumni, staff and faculty who were meeting regularly during the second half of last year to reimagine a new future for the school, a group that has since disbanded. Some members of that Reimagine Committee, and artists interviewed for this story, expressed anger and a loss of trust in the board over the Rivera murals and endowment shenanigans.\u003c/p>\n\u003cp>“I think it’s important to have a proper balance of power, where the actual community, which is a really diverse community, has a say,” Guardiola says. “It’s important for that community to be involved in the final decision making.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘A Spirit of Disruption’ is on view March 19–July 3 in the Walter and McBean Galleries and Diego Rivera Gallery at the San Francisco Art Institute (800 Chestnut Street). \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://sfai.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a> (SFAI) turns 150 years old this month, and as one might expect of an institution that’s managed to survive multiple earthquakes, socio-political upheavals, and economic bubbles and recessions, its legacy is complicated.\u003c/p>\n\u003cp>Just ask the alumni with work featured in SFAI’s upcoming 150th anniversary exhibition \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>A Spirit of Disruption\u003c/i>\u003c/a>:\u003c/p>\n\u003cp>“I have mixed emotions when I think about SFAI,” says ceramicist \u003ca href=\"https://cathyclu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cathy Lu\u003c/a>, who earned her MFA from the school in 2010. “I want to hug the building. The faculty and students are great. But then there’s all that weird stuff that makes me want to look away.”\u003c/p>\n\u003cp>“It was a really special place for me,” says interdisciplinary artist \u003ca href=\"https://www.pabloguardiola.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pablo Guardiola\u003c/a> (MFA 2005). “But I have a lot of issues with the school.”\u003c/p>\n\u003cp>“It’s a little perplexing,” says transdisciplinary artist \u003ca href=\"https://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Green\u003c/a> (BFA 2009). “It feels warm to have gotten to be a part of that experience, but it was also very complicated, sometimes very difficult, to be in the environment of the school.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“SFAI was a whole new world. I was able to meet people from all over, exchange ideas and be part of very interesting conversations. My practice truly expanded during my time there,” says multimedia artist \u003ca href=\"https://www.zulfikaralibhuttoart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zulfikar Ali Bhutto\u003c/a> (MFA 2016). “But I hope it will treat its adjunct staff and student body with the respect and dignity they deserve.”\u003c/p>\n\u003cp>These former students’ bifurcated feelings about their alma mater are understandable.\u003c/p>\n\u003cfigure id=\"attachment_13893883\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg\" alt=\"\" width=\"1200\" height=\"1125\" class=\"size-full wp-image-13893883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/13_Xylor-Jane_Via-Crucis-II-Cross_1200-768x720.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Xylor Jane, ‘Via Crucis II Cross,’ 2010; Oil on panel. \u003ccite>(Collection of Penny Cooper and Rena Rosenwasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Bifurcated Reputation\u003c/h2>\n\u003cp>On the one hand, there’s SFAI’s staggering global reputation and influence. SFAI was a hub for Abstract Expressionism, the Mission School, the Bay Area Figurative Movement and Funk Art. Its faculty included Ansel Adams, Dorothea Lange, Angela Davis and Richard Diebenkorn. Annie Leibovitz, Catherine Opie, Kehinde Wiley, Barry McGee and Rigo 23 all studied there. And the school has long been celebrated for its tight-knit sense of community and spirit of wild experimentation.\u003c/p>\n\u003cp>“SFAI holds a special place in the collective arts world,” says Taylor Dafoe, a reporter at \u003ca href=\"https://news.artnet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Artnet News\u003c/a> who has written extensively about art education in this country. “For a lot of people, it represents this kind of platonic ideal of what an art school is: a funky, hyper-liberal West Coast bastion of creativity, where pieces of performance art are being staged in the hallways, dorm rooms are turned into studios and things like that.”\u003c/p>\n\u003cp>On the other hand, there’s the fallout from decades of ongoing financial struggles. Shrinking enrollment, rising tuition, job losses, failed merger attempts, costly building expansions and threats of closure have pushed SFAI to the brink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This past year, fueled in part by the coronavirus pandemic, SFAI almost fell over that brink. Last spring, the school announced it would stop enrolling new students. The president stepped down and many adjunct faculty members were laid off. In the fall, the University of California purchased the school’s $19.7 million debt from a private bank, thereby becoming the landlord of SFAI’s historic Chestnut Street campus.\u003c/p>\n\u003cp>Then, right at the end of last year came a pair of widely-criticized moves by the school’s board of trustees: they considered selling off SFAI’s prized Diego Rivera mural (that possibility was upended at least for now by a \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Board of Supervisors decision\u003c/a> to confer landmark status on the artwork) and voted to spend $1.5 million of the school’s $5.4 million in investments and unrestricted endowment.\u003c/p>\n\u003cp>“Its future does not look promising at this point,” Dafoe says, adding that other art schools in North America, such as the Nova Scotia College of Art and Design in Halifax, Canada and the Watkins College of Art in Nashville, Tennessee, have been facing similar travails. “It’s worth noting, though, that none of these schools have had the reputation or generational influence that SFAI has had throughout its history.”\u003c/p>\n\u003cfigure id=\"attachment_13893885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13893885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/02_Spirit-of-Disruption_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-curators Margaret Tedesco and Leila Weefur at SFAI’s historic Chestnut Campus, 2020. \u003ccite>(Photo by Alex Peterson; courtesy of San Francisco Art Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Third Way\u003c/h2>\n\u003cp>Faced with the unenviable task of putting together a landmark art show against the backdrop of these two somewhat competing realities, the curators of \u003cem>A Spirit of Disruption\u003c/em> are interested in presenting the school’s legacy in a third way.\u003c/p>\n\u003cp>“The concept behind curating this exhibition is to disrupt the history,” says Oakland artist, curator and former SFAI faculty member \u003ca href=\"http://www.leilaweefur.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leila Weefur\u003c/a>, who co-curated the exhibition. “We don’t want the financial turbulence to overshadow this amazing milestone for both the artists and for the institution, and we’re dedicated to making sure that we pay very close attention to which artists in SFAI’s 150-year history have not been a priority in the visibility of the school.”\u003c/p>\n\u003cp>“It’s an invitation to read between the lines,” says fellow co-curator, longtime SFAI staffer and educator Margaret Tedesco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Between a gallery show and a video archive, Weefur and Tedesco have selected the work of close to 200 artists—all of them with connections to the institution from its recent and long-distant past—for \u003cem>A Spirit of Disruption\u003c/em>, which opens both online and at the school’s Chestnut Street campus on March 19. Their selections stand in stark contrast to the majority of the artists previously celebrated during the school’s history, whom the curators say have mostly been white and cis-gendered. (This is possibly reflective of SFAI’s historical demographics, though the latest data shared by the school shows increased racial diversity in faculty and students between 2010 and 2019.)\u003c/p>\n\u003cp>Green engages her queer and trans identities through sculptures of mushrooms. “I think about fungi as this kind of metaphor for otherness,” Green says. “The mushroom itself is the fruiting body of the organism, and in my work, I’m exploring this form as a stand in for the queer body, or even as queerness itself.”\u003c/p>\n\u003cp>Lu’s background growing up in an Asian family around everyday and exotic produce in the grocery stores of Miami, Florida informs her large-scale artwork featuring various ceramic fruits.\u003c/p>\n\u003cfigure id=\"attachment_13893582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893582 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg\" alt=\"\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47494_Cathy-Lu_1-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Customs Declaration’ by Cathy Lu. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the fruits as a metaphor for immigrants,” says Lu. “The reason why those foods are there is because the immigrants who moved there wanted to eat those foods. A lot of the foods that we think of as American are actually not native to the U.S.”\u003c/p>\n\u003cp>Tedesco and Weefur also pay homage to underrepresented community members from SFAI’s less recent past, such as the artist’s model, educator, journalist and activist Florence Wysinger Allen.\u003c/p>\n\u003cp>Allen was born in Oakland in 1913 and went on to become a pivotal figure in San Francisco’s artistic scene until she passed away in 1997. She sat for artists like David Park and Wayne Thiebaud, and helped found the San Francisco Models’ Guild, which paved the way for higher wages for people in her profession. All of this at a time when Black models were extremely rare.\u003c/p>\n\u003cp>“Flo Wysinger held quite a large presence on the campus and in the Bay Area,” says Tedesco. “She was quite an entrepreneur, very forthright, loved the body as the form for the benefit of all the artists that she served.”\u003c/p>\n\u003cp>The curators say that despite Allen’s status as a local celebrity, she often wasn’t given the respect she deserved. Like most artist’s models, her name was often omitted from curatorial materials and she was looked down on in the media.\u003c/p>\n\u003cfigure id=\"attachment_13893878\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13893878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/03_Spirit-of-Disruption_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Philipp Weisman, ‘Untitled,’ 1955. An oil painting believed to depict Florence Wysinger Allen. \u003ccite>(Courtesy Pam Martin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s very objectified,” says Weefur.\u003c/p>\n\u003cp>“For instance, we have newspaper articles that refer to things like her ‘caramely, chocolaty body,’” Tedesco explains.\u003c/p>\n\u003cp>“And I think at the time we didn’t have the language for how a lot of the white men she was working with were framing her in the works that she was contributing her body to,” Weefur says, adding that Allen is the subject of an entire episode in the 10-part podcast series the curators are putting together to accompany the exhibition.\u003c/p>\n\u003ch2>Uncertain Future\u003c/h2>\n\u003cp>While \u003cem>A Spirit of Disruption\u003c/em> may help the public engage with a more nuanced version of SFAI’s past, the school’s future remains uncertain.\u003c/p>\n\u003cp>Many of the featured artists know that SFAI’s fiscal struggles are nothing new. Yet they’re still deeply shocked at the present set of circumstances and worried about what lies ahead.\u003c/p>\n\u003cp>“To lose the San Francisco Art Institute, a major institution not only in the United States but across the world, would be a disaster,” says artist \u003ca href=\"https://anglimgilbertgallery.com/mildred-howard/#ms-5957\" rel=\"noopener noreferrer\" target=\"_blank\">Mildred Howard\u003c/a>, who served on the school’s faculty from 1998 to 2015 and was an artist’s model at SFAI starting in the 1970s.\u003c/p>\n\u003cp>Howard was among the group of people who were \u003cem>for\u003c/em> the sale of the Rivera mural. “I truly believe that Diego Rivera thought that if that mural that he painted would save an institution, selling it would be just fine.” Howard says art is a business, not just a passion, so she’s dismayed about the outcry against the sale.\u003c/p>\n\u003cp>“There’s so many people that don’t understand how art can be used,” Howard says. “I don’t think they truly understand the larger picture of the San Francisco Art Institute and its importance to this country and to the world of art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an email to KQED, a school spokesperson said the board has a fiduciary responsibility to consider all options and scenarios to secure the future of SFAI, but no determinations have been made regarding a possible endowment or sale of artworks, including the Rivera mural, or other assets. The email stated that SFAI aims to raise $19 million within the next six years to purchase the Chestnut Street campus from the University of California. If SFAI cannot pay off or refinance that amount by 2026, UC takes possession of the campus and SFAI must vacate the premises.\u003c/p>\n\u003cp>“That will mean moving ahead aggressively on four fronts: rebuilding enrollment to pre-pandemic levels, maintaining our fundraising momentum, developing new revenue streams that will include leasing out all or part of the Fort Mason campus, and refinancing Chestnut Street with a long-term traditional real estate-backed mortgage enabling SFAI to repurchase the campus and pay it off over 30 years,” the spokesperson said. “These are ambitious goals, but they are achievable if the staff, faculty, alumni and board work together with the support of the philanthropic community.”\u003c/p>\n\u003cp>But some artists say the school hasn’t shown much interest in taking an inclusive approach to solving its problems thus far. Guardiola says the board should listen more carefully to the diverse voices in the school’s community—at the very least to the board-initiated group of alumni, staff and faculty who were meeting regularly during the second half of last year to reimagine a new future for the school, a group that has since disbanded. Some members of that Reimagine Committee, and artists interviewed for this story, expressed anger and a loss of trust in the board over the Rivera murals and endowment shenanigans.\u003c/p>\n\u003cp>“I think it’s important to have a proper balance of power, where the actual community, which is a really diverse community, has a say,” Guardiola says. “It’s important for that community to be involved in the final decision making.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Spirit of Disruption’ is on view March 19–July 3 in the Walter and McBean Galleries and Diego Rivera Gallery at the San Francisco Art Institute (800 Chestnut Street). \u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/sfai-150-years-a-spirit-of-disruption\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The San Francisco Art Institute That Could Have Been",
"headTitle": "The San Francisco Art Institute That Could Have Been | KQED",
"content": "\u003cp>Almost everyone agrees on one thing: For the San Francisco Art Institute to have a future, it will need to change. But like most slow-moving objects that have been laden with debt, it’s having trouble altering its course.\u003c/p>\n\u003cp>SFAI’s most recent troubles began in March 2020, when the school, facing budget shortfalls after a failed merger attempt, \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would halt enrollment and was preparing to lay off staff and faculty. In short order, the school’s president stepped down, students were encouraged to enroll elsewhere and nearly all adjunct faculty lost their jobs. In the fall, the University of California \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" target=\"_blank\" rel=\"noopener noreferrer\">stepped in\u003c/a> to save SFAI from foreclosure, buying the school’s $19.7 million debt from a private bank.\u003c/p>\n\u003cp>The University of California is now SFAI’s landlord. If SFAI has any intention of owning its Chestnut Street campus again, it will need to repay that $19.7 million (plus interest) within the next six years.\u003c/p>\n\u003cp>[aside postID='arts_13878509']Only network television could cram more drama into such a short period of time, but before 2020 ended, two more bombshells landed. One was that SFAI’s board of trustees was considering the sale of the Chestnut Street campus’ 1931 \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Rivera mural\u003c/a>. The other was it had voted to spend \u003ca href=\"https://www.nytimes.com/2021/01/22/arts/design/san-francisco-art-institute-pam-rorke-levy.html\" target=\"_blank\" rel=\"noopener noreferrer\">$1.5 million\u003c/a> from the school’s endowment, which \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Committee-to-Reimagine-SFAI-Statement-1-15-21.pdf\">raised concern and objection\u003c/a>.\u003c/p>\n\u003cp>For a board-initiated group of alumni, staff and faculty, who for six months had diligently worked on a vision for SFAI’s future, this was the final straw, the final breach of trust in a long series of unmet promises, contradictory messages and decisions clouded in secrecy. The Committee to Reimagine SFAI had met at least once a week since August, putting in countless hours to envision a school rooted in lower tuitions, new power dynamics and the principles of diversity, equity, inclusion and accessibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the mural under threat and the questioned endowment spending approved, all good faith evaporated. The committee’s co-chairs \u003ca href=\"https://41d5f226-1469-4135-a0cb-32a7e9e23c6e.filesusr.com/ugd/15cf86_df52f0a900684113b2f98402181921aa.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> for then-board chair Pam Rorke Levy to step down as a condition of “[sharing] our work with the board.” The board declined.\u003c/p>\n\u003cp>Now, the Reimagine Committee’s findings exist in a bizarre limbo. The board canceled their final presentation the day before it was set to take place, the co-chairs formally resigned and the committee dissolved after making a town hall presentation to the public on Jan. 14. A recording of that two-hour session \u003ca href=\"https://www.sfartistsalumni.org/re-imagine-town-hall-jan2021\" target=\"_blank\" rel=\"noopener noreferrer\">lives online\u003c/a>, along with PDFs created by subcommittees focusing on issues like pedagogy, finance and governance.\u003c/p>\n\u003cp>But whether SFAI’s board will watch the presentation, let alone incorporate its recommendations, remains to be seen. The board says the committee missed a Dec. 31 deadline to submit their final report, but is still eager to hear their recommendations. “With all of the efforts the Reimagine Committee put into creating their commissioned findings and report, we continue to invite them to share it with the board,” said vice chair John Marx in a statement provided to KQED. He says the board finds it “a bit of a mystery as to why” the Reimagine Committee has “withheld it.”\u003c/p>\n\u003cp>Lost in the back and forth are ideas that represent the best of what SFAI could be, if the school only had the time, money or interest to implement them.\u003c/p>\n\u003ch2>‘Everything Was on the Table’\u003c/h2>\n\u003cp>The impasse may come down to a fundamental difference in power dynamics. After all, the Reimagine Committee wanted to see more faculty, staff and student participation at the highest level of SFAI’s governance.\u003c/p>\n\u003cp>When asked about this proposed shift, Marx said the school’s financial position is the foremost concern. “The board’s urgent and immediate priorities are to see through the current semester and to start rebuilding enrollment for the upcoming school year,” his statement reads. “As we create a forum to listen, with the intention of healing, we are committed to looking at how we can make the process more inclusive and open to the broader community. The form that takes will evolve as we all learn to build bridges of trust.”\u003c/p>\n\u003cp>And yet, the Reimagine Committee was made up of the “broader community.” Part of its activity was regular meetings with board members to keep everyone updated on the committee’s progress. Among its suggestions are a number of ways to make SFAI’s governance more inclusive. Marx’s answer, in other words, seems to describe work the Reimagine Committee has already done.\u003c/p>\n\u003cfigure id=\"attachment_13892129\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg\" alt=\"\" width=\"1200\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The opening slide from the governance subcommittee’s presentation on Jan. 14. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Reimagine Committee began taking shape in July 2020 with the selection of three co-chairs by the SFAI board, all alumni: Tom Loughlin, Karen Topakian and Christopher Williams. (Though Williams stepped down earlier in December.) The co-chairs gathered a formidable assembly. Adjunct and full-time faculty joined on, along with staff representatives and volunteers selected from an open call to the alumni population. Further community members joined various subcommittees. All told, over 50 people participated in the process.\u003c/p>\n\u003cp>According to the co-chairs, Levy said “everything was on the table.” She assured the committee the board would fundraise to make sure the school could actually implement their suggestions.\u003c/p>\n\u003cp>Over the course of 22 committee meetings and even more subcommittee meetings, the Reimagine team looked at the school’s existing strengths and weaknesses, examining programming, student populations and how programs could be funded. One week, Assistant Professor and Photo Department Chair Lindsey White, who co-chaired the governance sub-committee, says she spent 13 hours in meetings, not including an additional seven to nine hours of planning. Despite the time commitment, by all accounts, this volunteer group genuinely enjoyed hashing out difficult ideas.\u003c/p>\n\u003cp>“People dedicated so many hours and we were all learning together,” White says. “That’s really important and what kept the whole thing going. It was amazing to have a space to really learn with and from each other.”\u003c/p>\n\u003cp>Topakian, who was the board chair of Greenpeace for eight years, has plenty of experience creating productive agendas. But the trick with the Reimagine Committee, she says, was to get everyone on equal footing. Former students and their professors were now co-chairing subcommittees.\u003c/p>\n\u003cp>“I said early on that my belief and my practice was to model good behavior,” Topakian says. “So I wanted to show there was another way to bring disparate groups of people together to come up with the best possible outcome.” Among that good behavior, she says, was acknowledging the pain and turmoil people experienced (especially during the past year), but not letting those experiences keep the Reimagine Committee from dreaming up a better SFAI.\u003c/p>\n\u003ch2>Optimistic Realism\u003c/h2>\n\u003cp>From the start, the Reimagine Committee emerged as a serious working group. They reached out to experts in various fields to inform their recommendations in pedagogy; diversity, equity, accessibility and inclusion; fundraising; marketing, enrollment and communications; sustainability and environmental justice; finance; and governance.\u003c/p>\n\u003cp>Many of the concepts they discussed have long been circulating through the halls of higher education and its alternatives. But it’s rare to see an entire school re-thought from the ground up, especially by a group of people intimately acquainted with the inner workings of that institution.\u003c/p>\n\u003cp>Some of the most compelling recommendations:\u003c/p>\n\u003cul>\n\u003cli>Offer a three-year MFA program to just 20 students at a time (in contrast to a pre-pandemic class size of 40–50).\u003c/li>\n\u003cli>Provide sensitivity training at every level of the institution, including students and administrators.\u003c/li>\n\u003cli>Make SFAI physically accessible (the Chestnut Street campus is currently an M.C.-Escher-like arrangement of stairs and few ramps).\u003c/li>\n\u003cli>Establish a cooperative governance structure, with staff rotating in and out of a 15-person board of directors.\u003c/li>\n\u003cli>Share as many documents and financial statements as legally possible.\u003c/li>\n\u003c/ul>\n\u003cp>Many of the proposals were direct responses to SFAI’s perceived shortcomings; transparency was obviously a core issue. In the Jan. 14 town hall, the depth and intricacy of the Reimagine Committee’s presentations were invigorating. This was the clearest and most compelling vision of SFAI that anyone had seen in the past year.\u003c/p>\n\u003cp>And unlike some board-issued statements regarding the school’s financial situation, the Reimagine Committee didn’t sugarcoat their findings. The finance team, represented by Stephen Mangum, laid out the numbers put together from financial records provided by the school.\u003c/p>\n\u003cfigure id=\"attachment_13892128\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FinanceModel.jpg\" alt=\"\" width=\"1200\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-768x526.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A slide from the finance subcommittee’s Jan. 14 presentation, showing projected deficits for different approaches to the 2021–22 school year. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on SFAI’s new agreement with the University of California, it will be making interim rent payments over the next six years, with a balloon payment of $24.1 million due in 2027 to reclaim its Chestnut Street campus. The finance team looked at two near-term scenarios for the 2021–2022 school year: operating with about 50 students at the current tuition (around $46,000) or going dormant. According to their modeling, the former would yield a $4.8 million deficit. The latter, \u003ci>just\u003c/i> $1.5 million.\u003c/p>\n\u003cp>“This is still a problem,” the finance report reads, “but $3.3 million less of a problem than opening and teaching next year.” The only path forward, they concluded, was a year of dormancy to rethink the school’s economic structure.\u003c/p>\n\u003cp>Mark Kushner, SFAI’s interim COO, disputes these findings, saying they are not based on current or complete financial data. (The data the finance subcommittee used came from Kushner directly; Reimagine Committee co-chair Tom Loughlin says it took months of asking to get it.)\u003c/p>\n\u003cp>While conceding there would be savings to going dormant, Kushner said in a statement, “SFAI’s leadership does not currently recommend or support this model.” Instead, SFAI is accepting applications for the 2021–2022 school year.\u003c/p>\n\u003cp>In answer to Reimagine Committee claims that SFAI does not have the cash on hand to see through even the current spring semester, board chair Lonnie Graham (who assumed Levy’s role when she \u003ca href=\"https://www.kqed.org/arts/13891689/san-francisco-art-institutes-board-chair-steps-down-amid-financial-woes-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down\u003c/a> at the end of January) wrote, “The Board is committed to see current students through the end of the academic year and SFAI has the funds to honor this commitment.”\u003c/p>\n\u003ch2>Beautiful Seeds\u003c/h2>\n\u003cp>In the announcement of Levy’s departure from the board, SFAI listed one of her accomplishments as “engaging in a community-wide initiative to reimagine the institution’s programs and business model.”\u003c/p>\n\u003cp>[aside postID='arts_13889433']Yet the opportunity for the board to truly “engage” with the Reimagine Committee has come and gone. Now that the group has disbanded, the board has issued \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/SFAI-Board-1-17-21-Response-to-Reimagine-Committee-1-15-21-Statement-Final.pdf\">statements\u003c/a> contradicting the committee’s financial findings while touting their own ability to stave off bankruptcy and closure.\u003c/p>\n\u003cp>“We were asked to reevaluate the school holistically, from governance to marketing, but when we came back saying the current governance model wasn’t in line with SFAI’s core values as an institution, then our work is suddenly irrelevant?” White asks. “I hope not. This collective process to rethink art education is unprecedented, and I feel the school needs to lean in further. We’re just getting started.”\u003c/p>\n\u003cp>For many members of the Reimagine Committee, simply convening over those six months was a meaningful form of change. “I’ve never felt more included in a process like this at SFAI as a student or staff,” says Rye Purvis, who graduated in 2011 and was working in student affairs when the school closed its campuses due to the pandemic. She co-chaired the sustainability and environmental justice subcommittee with faculty member Thor Anderson.\u003c/p>\n\u003cp>“These things take time,” she says, pointing to the large audience at the Reimagine Committee’s public presentation. “One person out of those 200 people or so might say, ‘That’s a great idea, let me see if I can implement that where I work.’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This article has been updated to more accurately reflect the agreement between SFAI and the University of California and the sequence of events that led to the board’s cancellation of the Reimagine Committee’s final presentation.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost everyone agrees on one thing: For the San Francisco Art Institute to have a future, it will need to change. But like most slow-moving objects that have been laden with debt, it’s having trouble altering its course.\u003c/p>\n\u003cp>SFAI’s most recent troubles began in March 2020, when the school, facing budget shortfalls after a failed merger attempt, \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would halt enrollment and was preparing to lay off staff and faculty. In short order, the school’s president stepped down, students were encouraged to enroll elsewhere and nearly all adjunct faculty lost their jobs. In the fall, the University of California \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" target=\"_blank\" rel=\"noopener noreferrer\">stepped in\u003c/a> to save SFAI from foreclosure, buying the school’s $19.7 million debt from a private bank.\u003c/p>\n\u003cp>The University of California is now SFAI’s landlord. If SFAI has any intention of owning its Chestnut Street campus again, it will need to repay that $19.7 million (plus interest) within the next six years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Only network television could cram more drama into such a short period of time, but before 2020 ended, two more bombshells landed. One was that SFAI’s board of trustees was considering the sale of the Chestnut Street campus’ 1931 \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Rivera mural\u003c/a>. The other was it had voted to spend \u003ca href=\"https://www.nytimes.com/2021/01/22/arts/design/san-francisco-art-institute-pam-rorke-levy.html\" target=\"_blank\" rel=\"noopener noreferrer\">$1.5 million\u003c/a> from the school’s endowment, which \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Committee-to-Reimagine-SFAI-Statement-1-15-21.pdf\">raised concern and objection\u003c/a>.\u003c/p>\n\u003cp>For a board-initiated group of alumni, staff and faculty, who for six months had diligently worked on a vision for SFAI’s future, this was the final straw, the final breach of trust in a long series of unmet promises, contradictory messages and decisions clouded in secrecy. The Committee to Reimagine SFAI had met at least once a week since August, putting in countless hours to envision a school rooted in lower tuitions, new power dynamics and the principles of diversity, equity, inclusion and accessibility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the mural under threat and the questioned endowment spending approved, all good faith evaporated. The committee’s co-chairs \u003ca href=\"https://41d5f226-1469-4135-a0cb-32a7e9e23c6e.filesusr.com/ugd/15cf86_df52f0a900684113b2f98402181921aa.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> for then-board chair Pam Rorke Levy to step down as a condition of “[sharing] our work with the board.” The board declined.\u003c/p>\n\u003cp>Now, the Reimagine Committee’s findings exist in a bizarre limbo. The board canceled their final presentation the day before it was set to take place, the co-chairs formally resigned and the committee dissolved after making a town hall presentation to the public on Jan. 14. A recording of that two-hour session \u003ca href=\"https://www.sfartistsalumni.org/re-imagine-town-hall-jan2021\" target=\"_blank\" rel=\"noopener noreferrer\">lives online\u003c/a>, along with PDFs created by subcommittees focusing on issues like pedagogy, finance and governance.\u003c/p>\n\u003cp>But whether SFAI’s board will watch the presentation, let alone incorporate its recommendations, remains to be seen. The board says the committee missed a Dec. 31 deadline to submit their final report, but is still eager to hear their recommendations. “With all of the efforts the Reimagine Committee put into creating their commissioned findings and report, we continue to invite them to share it with the board,” said vice chair John Marx in a statement provided to KQED. He says the board finds it “a bit of a mystery as to why” the Reimagine Committee has “withheld it.”\u003c/p>\n\u003cp>Lost in the back and forth are ideas that represent the best of what SFAI could be, if the school only had the time, money or interest to implement them.\u003c/p>\n\u003ch2>‘Everything Was on the Table’\u003c/h2>\n\u003cp>The impasse may come down to a fundamental difference in power dynamics. After all, the Reimagine Committee wanted to see more faculty, staff and student participation at the highest level of SFAI’s governance.\u003c/p>\n\u003cp>When asked about this proposed shift, Marx said the school’s financial position is the foremost concern. “The board’s urgent and immediate priorities are to see through the current semester and to start rebuilding enrollment for the upcoming school year,” his statement reads. “As we create a forum to listen, with the intention of healing, we are committed to looking at how we can make the process more inclusive and open to the broader community. The form that takes will evolve as we all learn to build bridges of trust.”\u003c/p>\n\u003cp>And yet, the Reimagine Committee was made up of the “broader community.” Part of its activity was regular meetings with board members to keep everyone updated on the committee’s progress. Among its suggestions are a number of ways to make SFAI’s governance more inclusive. Marx’s answer, in other words, seems to describe work the Reimagine Committee has already done.\u003c/p>\n\u003cfigure id=\"attachment_13892129\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg\" alt=\"\" width=\"1200\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The opening slide from the governance subcommittee’s presentation on Jan. 14. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Reimagine Committee began taking shape in July 2020 with the selection of three co-chairs by the SFAI board, all alumni: Tom Loughlin, Karen Topakian and Christopher Williams. (Though Williams stepped down earlier in December.) The co-chairs gathered a formidable assembly. Adjunct and full-time faculty joined on, along with staff representatives and volunteers selected from an open call to the alumni population. Further community members joined various subcommittees. All told, over 50 people participated in the process.\u003c/p>\n\u003cp>According to the co-chairs, Levy said “everything was on the table.” She assured the committee the board would fundraise to make sure the school could actually implement their suggestions.\u003c/p>\n\u003cp>Over the course of 22 committee meetings and even more subcommittee meetings, the Reimagine team looked at the school’s existing strengths and weaknesses, examining programming, student populations and how programs could be funded. One week, Assistant Professor and Photo Department Chair Lindsey White, who co-chaired the governance sub-committee, says she spent 13 hours in meetings, not including an additional seven to nine hours of planning. Despite the time commitment, by all accounts, this volunteer group genuinely enjoyed hashing out difficult ideas.\u003c/p>\n\u003cp>“People dedicated so many hours and we were all learning together,” White says. “That’s really important and what kept the whole thing going. It was amazing to have a space to really learn with and from each other.”\u003c/p>\n\u003cp>Topakian, who was the board chair of Greenpeace for eight years, has plenty of experience creating productive agendas. But the trick with the Reimagine Committee, she says, was to get everyone on equal footing. Former students and their professors were now co-chairing subcommittees.\u003c/p>\n\u003cp>“I said early on that my belief and my practice was to model good behavior,” Topakian says. “So I wanted to show there was another way to bring disparate groups of people together to come up with the best possible outcome.” Among that good behavior, she says, was acknowledging the pain and turmoil people experienced (especially during the past year), but not letting those experiences keep the Reimagine Committee from dreaming up a better SFAI.\u003c/p>\n\u003ch2>Optimistic Realism\u003c/h2>\n\u003cp>From the start, the Reimagine Committee emerged as a serious working group. They reached out to experts in various fields to inform their recommendations in pedagogy; diversity, equity, accessibility and inclusion; fundraising; marketing, enrollment and communications; sustainability and environmental justice; finance; and governance.\u003c/p>\n\u003cp>Many of the concepts they discussed have long been circulating through the halls of higher education and its alternatives. But it’s rare to see an entire school re-thought from the ground up, especially by a group of people intimately acquainted with the inner workings of that institution.\u003c/p>\n\u003cp>Some of the most compelling recommendations:\u003c/p>\n\u003cul>\n\u003cli>Offer a three-year MFA program to just 20 students at a time (in contrast to a pre-pandemic class size of 40–50).\u003c/li>\n\u003cli>Provide sensitivity training at every level of the institution, including students and administrators.\u003c/li>\n\u003cli>Make SFAI physically accessible (the Chestnut Street campus is currently an M.C.-Escher-like arrangement of stairs and few ramps).\u003c/li>\n\u003cli>Establish a cooperative governance structure, with staff rotating in and out of a 15-person board of directors.\u003c/li>\n\u003cli>Share as many documents and financial statements as legally possible.\u003c/li>\n\u003c/ul>\n\u003cp>Many of the proposals were direct responses to SFAI’s perceived shortcomings; transparency was obviously a core issue. In the Jan. 14 town hall, the depth and intricacy of the Reimagine Committee’s presentations were invigorating. This was the clearest and most compelling vision of SFAI that anyone had seen in the past year.\u003c/p>\n\u003cp>And unlike some board-issued statements regarding the school’s financial situation, the Reimagine Committee didn’t sugarcoat their findings. The finance team, represented by Stephen Mangum, laid out the numbers put together from financial records provided by the school.\u003c/p>\n\u003cfigure id=\"attachment_13892128\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FinanceModel.jpg\" alt=\"\" width=\"1200\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-768x526.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A slide from the finance subcommittee’s Jan. 14 presentation, showing projected deficits for different approaches to the 2021–22 school year. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on SFAI’s new agreement with the University of California, it will be making interim rent payments over the next six years, with a balloon payment of $24.1 million due in 2027 to reclaim its Chestnut Street campus. The finance team looked at two near-term scenarios for the 2021–2022 school year: operating with about 50 students at the current tuition (around $46,000) or going dormant. According to their modeling, the former would yield a $4.8 million deficit. The latter, \u003ci>just\u003c/i> $1.5 million.\u003c/p>\n\u003cp>“This is still a problem,” the finance report reads, “but $3.3 million less of a problem than opening and teaching next year.” The only path forward, they concluded, was a year of dormancy to rethink the school’s economic structure.\u003c/p>\n\u003cp>Mark Kushner, SFAI’s interim COO, disputes these findings, saying they are not based on current or complete financial data. (The data the finance subcommittee used came from Kushner directly; Reimagine Committee co-chair Tom Loughlin says it took months of asking to get it.)\u003c/p>\n\u003cp>While conceding there would be savings to going dormant, Kushner said in a statement, “SFAI’s leadership does not currently recommend or support this model.” Instead, SFAI is accepting applications for the 2021–2022 school year.\u003c/p>\n\u003cp>In answer to Reimagine Committee claims that SFAI does not have the cash on hand to see through even the current spring semester, board chair Lonnie Graham (who assumed Levy’s role when she \u003ca href=\"https://www.kqed.org/arts/13891689/san-francisco-art-institutes-board-chair-steps-down-amid-financial-woes-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down\u003c/a> at the end of January) wrote, “The Board is committed to see current students through the end of the academic year and SFAI has the funds to honor this commitment.”\u003c/p>\n\u003ch2>Beautiful Seeds\u003c/h2>\n\u003cp>In the announcement of Levy’s departure from the board, SFAI listed one of her accomplishments as “engaging in a community-wide initiative to reimagine the institution’s programs and business model.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet the opportunity for the board to truly “engage” with the Reimagine Committee has come and gone. Now that the group has disbanded, the board has issued \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/SFAI-Board-1-17-21-Response-to-Reimagine-Committee-1-15-21-Statement-Final.pdf\">statements\u003c/a> contradicting the committee’s financial findings while touting their own ability to stave off bankruptcy and closure.\u003c/p>\n\u003cp>“We were asked to reevaluate the school holistically, from governance to marketing, but when we came back saying the current governance model wasn’t in line with SFAI’s core values as an institution, then our work is suddenly irrelevant?” White asks. “I hope not. This collective process to rethink art education is unprecedented, and I feel the school needs to lean in further. We’re just getting started.”\u003c/p>\n\u003cp>For many members of the Reimagine Committee, simply convening over those six months was a meaningful form of change. “I’ve never felt more included in a process like this at SFAI as a student or staff,” says Rye Purvis, who graduated in 2011 and was working in student affairs when the school closed its campuses due to the pandemic. She co-chaired the sustainability and environmental justice subcommittee with faculty member Thor Anderson.\u003c/p>\n\u003cp>“These things take time,” she says, pointing to the large audience at the Reimagine Committee’s public presentation. “One person out of those 200 people or so might say, ‘That’s a great idea, let me see if I can implement that where I work.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This article has been updated to more accurately reflect the agreement between SFAI and the University of California and the sequence of events that led to the board’s cancellation of the Reimagine Committee’s final presentation.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Art Institute's Board Chair Steps Down Amid Financial Woes, Controversy",
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"content": "\u003cp>The San Francisco Art Institute (SFAI) on Friday announced the resignation of Pam Rorke Levy, the board chair of the embattled art school who recently suggested selling a historic Diego Rivera mural to right the institution’s finances. \u003c/p>\n\u003cp>Elected as Levy’s successor is Lonnie Graham, a member of the Board since July 2020, former adjunct professor for the school and SFAI graduate. In a statement, Graham said, “As we move forward, I would like to see the San Francisco Art Institute continue to cultivate and sustain experimentation and innovation in the fine arts as we imagine an inclusive and collaborative educational environment.” \u003c/p>\n\u003cfigure id=\"attachment_13891700\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/LonnieGraham.jpg\" alt=\"Lonnie Graham has been named new Board Chair for the San Francisco Art Institute.\" width=\"320\" height=\"400\" class=\"size-thumbnail wp-image-13891700\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Graham has been named new Board Chair for the San Francisco Art Institute. \u003ccite>(Mary Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham steps into the role during tenuous circumstances for the 150-year-old school. On Jan. 12, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" rel=\"noopener noreferrer\" target=\"_blank\">unanimously voted to initiate landmark status\u003c/a> for the 1931 Diego Rivera mural \u003cem>The Making of a Fresco Showing the Building of a City\u003c/em>, located inside the San Francisco Art Institute’s Chestnut Street campus. Opposed by Levy, the decision effectively squashed any plans to sell the mural, estimated to be valued at $50 million, in order to help pay off the school’s debt.\u003c/p>\n\u003cp>The University of California Regents recently bought SFAI’s $19.7 million debt, and now serve as landlords for the Chestnut Street campus. The tenant agreement is in place for six years, during which time SFAI must either repay the debt to the UC Regents or forfeit the campus. \u003c/p>\n\u003cp>SFAI Co-Vice Chairs Bonnie Levinson and Jeremy Stone also stepped down from their positions at the school. Elected in their place as Vice Chair is John Marx, a member of the board for the past four months and a co-founding principal and chief artistic officer of Form4 Architecture in San Francisco. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also announced on Thursday was the launch of the school’s Access50 scholarship fund, seeded by a gift from RealReal CEO Julie Wainwright. In the announcement, SFAI noted that its “goal is to initially raise $8–$10 million to fund 50 students,” and ultimately build an endowment of $50 million. The amount of Wainwright’s initial gift was not specified. \u003c/p>\n\u003cp>To the \u003cem>San Francisco Chronicle\u003c/em> on Thursday, Levy touted the Access50 scholarship fund, as well as the board’s diversity, remarking proudly that “the majority of our board is either BIPOC, LGBTQ or both.”\u003c/p>\n\u003cp>But it’s debatable if that diverse board has been adequately set up for success. The school’s enrollment currently sits at just 27 students, down from over 600 students eight years ago.\u003c/p>\n\u003cp>Levy, who served as board chair for two and a half of those years, placed confidence in her successor. “[Graham] is uniquely qualified to help SFAI address its areas of improvement,” she said in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Levy will stay on the board through the end of January to assist Graham through the transition. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Art Institute (SFAI) on Friday announced the resignation of Pam Rorke Levy, the board chair of the embattled art school who recently suggested selling a historic Diego Rivera mural to right the institution’s finances. \u003c/p>\n\u003cp>Elected as Levy’s successor is Lonnie Graham, a member of the Board since July 2020, former adjunct professor for the school and SFAI graduate. In a statement, Graham said, “As we move forward, I would like to see the San Francisco Art Institute continue to cultivate and sustain experimentation and innovation in the fine arts as we imagine an inclusive and collaborative educational environment.” \u003c/p>\n\u003cfigure id=\"attachment_13891700\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/LonnieGraham.jpg\" alt=\"Lonnie Graham has been named new Board Chair for the San Francisco Art Institute.\" width=\"320\" height=\"400\" class=\"size-thumbnail wp-image-13891700\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Graham has been named new Board Chair for the San Francisco Art Institute. \u003ccite>(Mary Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham steps into the role during tenuous circumstances for the 150-year-old school. On Jan. 12, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" rel=\"noopener noreferrer\" target=\"_blank\">unanimously voted to initiate landmark status\u003c/a> for the 1931 Diego Rivera mural \u003cem>The Making of a Fresco Showing the Building of a City\u003c/em>, located inside the San Francisco Art Institute’s Chestnut Street campus. Opposed by Levy, the decision effectively squashed any plans to sell the mural, estimated to be valued at $50 million, in order to help pay off the school’s debt.\u003c/p>\n\u003cp>The University of California Regents recently bought SFAI’s $19.7 million debt, and now serve as landlords for the Chestnut Street campus. The tenant agreement is in place for six years, during which time SFAI must either repay the debt to the UC Regents or forfeit the campus. \u003c/p>\n\u003cp>SFAI Co-Vice Chairs Bonnie Levinson and Jeremy Stone also stepped down from their positions at the school. Elected in their place as Vice Chair is John Marx, a member of the board for the past four months and a co-founding principal and chief artistic officer of Form4 Architecture in San Francisco. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also announced on Thursday was the launch of the school’s Access50 scholarship fund, seeded by a gift from RealReal CEO Julie Wainwright. In the announcement, SFAI noted that its “goal is to initially raise $8–$10 million to fund 50 students,” and ultimately build an endowment of $50 million. The amount of Wainwright’s initial gift was not specified. \u003c/p>\n\u003cp>To the \u003cem>San Francisco Chronicle\u003c/em> on Thursday, Levy touted the Access50 scholarship fund, as well as the board’s diversity, remarking proudly that “the majority of our board is either BIPOC, LGBTQ or both.”\u003c/p>\n\u003cp>But it’s debatable if that diverse board has been adequately set up for success. The school’s enrollment currently sits at just 27 students, down from over 600 students eight years ago.\u003c/p>\n\u003cp>Levy, who served as board chair for two and a half of those years, placed confidence in her successor. “[Graham] is uniquely qualified to help SFAI address its areas of improvement,” she said in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Levy will stay on the board through the end of January to assist Graham through the transition. \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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Geopolitical turmoil. A warming planet. Authoritarians on the rise. We live in a chaotic world that’s rapidly shifting around us. “On Shifting Ground with Ray Suarez” explores international fault lines and how they impact us all. Each week, NPR veteran Ray Suarez hosts conversations with journalists, leaders and policy experts to help us read between the headlines – and give us hope for human resilience.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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