San Francisco Arts CommissionSan Francisco Arts Commission
Ralph Remington to Step Down as SF’s Director of Cultural Affairs
Against a Backdrop of Closures, SF Creates a New Top Arts Job
Who Has a Say in the Flood of Public Art Coming to San Francisco?
D’Arcy Drollinger, Nation’s First Drag Laureate, Boosts SF Pride
At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay
The New Southeast Community Center Is Filled With Art and Promise
A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag
There's a New Director of Cultural Affairs in San Francisco
SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a surprise announcement at today’s San Francisco Arts Commission meeting, Director of Cultural Affairs \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\">Ralph Remington\u003c/a> said he would move into an advisory capacity and fully retire on June 30, 2026.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have made the decision to step back from my current role as Director of Cultural Affairs to support the future objectives and vision of Mayor Lurie’s combined arts and culture department,” Remington said.\u003c/p>\n\u003cp>Remington has held the role since January 2021. According to his statement at today’s meeting, Deputy Directors Sarah Hollenbeck and Ebon Glenn will “guide operations and programming through this period of change.” Later in the meeting, he delivered his final “Director’s Report.”\u003c/p>\n\u003cp>Remington came to the SFAC from Tempe, Arizona, where he served as the deputy director for arts and culture. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University and has a background as a playwright, actor and screenwriter. A book of his essays, \u003ci>Penetrating Whiteness: How White Supremacy Built America\u003c/i>, will be published by Books That Save Lives on Feb. 3.\u003c/p>\n\u003cp>His retirement comes during a time of turbulence for San Francisco’s arts ecosystem. The SFAC meeting was just days after Lurie announced \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">the creation of a new position\u003c/a> to oversee a merger of the SFAC, Grants for the Arts, and the Film Commission. That same day, news broke that the Mission Cultural Center for Latino Arts \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">had suddenly closed\u003c/a> due to financial distress — after 49 years as a hub of Latino dance, theater, graphic arts and music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Public comment at the meeting reproached the arts commissioners — a volunteer, mayor-appointed board — for a lack of action and urgency as an avalanche of closures has rocked the local arts community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was a day of extremes. On Wednesday morning, Mayor Daniel Lurie announced his search for \u003ca href=\"https://www.sf.gov/news-mayor-lurie-advances-reimagined-citywide-arts-and-culture-strategy-to-support-san-franciscos-recovery\">a new executive director\u003c/a> to oversee the city’s three art agencies. \u003c/p>\n\u003cp>San Francisco’s executive director of arts and culture, to be paid between $210,678 and $268,814, will head a new agency to “unify the work” of the San Francisco Arts Commission (SFAC), Grants for the Arts (GFTA) and the Film Commission (Film SF).\u003c/p>\n\u003cp>[aside postID='news_12071507' hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec4.jpg']But by the afternoon, news broke that the \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">Mission Cultural Center for Latino Arts\u003c/a> (MCCLA) had suddenly and indefinitely closed. The nonprofit arts center, a Mission District hub since its founding by artists and community members in 1977, had run out of operating funds and left its empty building — owned by the city — in the hands of the SFAC.\u003c/p>\n\u003cp>Combined with the news of California College of the Arts’ \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">upcoming closure\u003c/a>, layoffs at the performing arts space \u003ca href=\"https://www.kqed.org/arts/13985512/san-francisco-counterpulse-union-labor-dispute\">CounterPulse\u003c/a>, the Contemporary Jewish Museum’s \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">continued limbo state\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">theater\u003c/a> closures across the city, MCCLA’s struggles top off an avalanche of recent bad news. \u003c/p>\n\u003cp>“There’s just so much happening,” Rachelle Axel tells KQED. “And the very local arts community of San Francisco hasn’t really been feeling like there’s been adequate attention to what has been going on.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Axel is just three weeks into a new position as executive director of \u003ca href=\"https://www.betterbayarea.org/\">Arts for a Better Bay Area\u003c/a> (ABBA), a regional arts advocacy group that in 2018 rallied crucial support to pass San Francisco’s Prop E, which reallocated 1.5% of hotel tax revenue to arts and culture.\u003c/p>\n\u003cp>Still, Axel sees the new \u003ca href=\"https://jobs.crelate.com/portal/berkeleysearchconsultants/job/4b9bkeys6a4q3ma7ufbwrqh86a\">job posting\u003c/a> as a good sign, even as she expresses frustration with the slow speed at which it was put out. (Lurie first mentioned \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">unifying the three arts organizations\u003c/a> under a single leader back in May 2025.)\u003c/p>\n\u003cp>“There’s been a lot of talk about the arts leading revitalization efforts,” Axel says, “but when it’s been no activity for eight months out of the 12 months that the new administration has been in place, it feels like it’s a bit more talk and less action.”\u003c/p>\n\u003cp>On the surface, merging the city’s arts and film agencies makes a certain sense. Currently, the \u003ca href=\"https://www.sfartscommission.org/\">SFAC\u003c/a> provides grants to individual artists, arts nonprofits and the city’s seven cultural centers, in addition to funding public art projects. It also organizes exhibitions in \u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/sfac-galleries\">two gallery spaces\u003c/a>, one in the War Memorial Veterans Building, the other in City Hall. \u003c/p>\n\u003cfigure id=\"attachment_13875611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio sifts through the SFAC Galleries’ 50-year history in ‘The Capricorn Chronicles,’ a 2020 gallery show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sf.gov/departments--city-administrator--grants-arts\">GFTA\u003c/a> provides general operating support to San Francisco arts nonprofits, including festivals and parades. \u003ca href=\"https://www.sf.gov/departments--office-economic-and-workforce-development--film-sf\">Film SF\u003c/a> helps filmmakers get shooting permits and fee rebates, and operates one granting opportunity. (Now housed under the Office of Economic and Workforce Development, Film SF is clearly the odd man out here.)\u003c/p>\n\u003cp>Wednesday’s announcement said the merger aimed for “simpler grant applications, better-aligned timelines, and ensuring resources continue to reach working artists.” Current leaders of all three agencies (Ralph Remington at the SFAC, Kristen Jacobson at GFTA, and Manijeh Fata at Film SF) will keep their jobs, but are also welcome to apply to the executive director position.\u003c/p>\n\u003cp>Many questions remain.\u003c/p>\n\u003cp>In October and November of 2025, the mayor’s office and the three agencies organized a series of community meetings around the merger, seemingly to answer some of those questions. At the Oct. 28 meeting I attended, consultants asked the audience — mostly former grantees and agency employees — “What concerns you about the merger?” and “What opportunity does the merger offer?” \u003c/p>\n\u003cp>My table could come up with few opportunities. All were worried, especially those who had experienced years of shifting priorities from the SFAC and \u003ca href=\"https://www.kqed.org/arts/13908328/frustrating-delays-in-city-funding-affect-over-200-sf-arts-nonprofits\">delays from GFTA\u003c/a>, that this merger would decrease the funding available to arts nonprofits. In a recent email, ABBA summarized the proceedings as leaving hundreds of attendees “with little information, and a sense of uncertainty about the future of these entities.”\u003c/p>\n\u003cfigure id=\"attachment_13965110\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg\" alt=\"white man in suit gestures with one hand at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lurie at SFJAZZ Center on Sept. 18, 2024, when he was participating in the Arts Town Hall Mayoral Forum, produced by Arts for a Better Bay Area. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lurie’s administration was already on rocky ground with the arts community. In June, the SFAC attempted to change the way it distributes money to nonprofits, capping payment advances at 50% and requiring more paperwork in the form of quarterly reports. Nonprofit leaders mobilized to protest the sudden changes, and \u003ca href=\"https://www.sfchronicle.com/sf/article/art-funding-san-francisco-20392389.php\">were granted a temporary reprieve\u003c/a>.\u003c/p>\n\u003cp>Understandably, much of Lurie’s focus has been on San Francisco’s downtown, for both economic and symbolic reasons. Partnerships with nonprofits and private donors have created programs like \u003ca href=\"https://www.vibrantsf.org/\">Vacant to Vibrant\u003c/a> (which connects local businesses to empty retail spaces), and brought in grants like \u003ca href=\"https://www.svaneff.org/cultureforward\">Culture Forward\u003c/a>, given out by the Svane Family Foundation. \u003c/p>\n\u003cp>But as Axel points out, people need the arts in every corner of San Francisco — which is why accessible spaces like MCCLA are so important. \u003c/p>\n\u003cp>“This stuff is happening downtown and it’s new and shiny,” she says. “But there’s not a lot of attention about or conversation with the arts organizations around the rest of the city — the ones that are working in communities, the cultural centers that have been there for decades and decades and have an incredible impact in their communities.” \u003c/p>\n\u003cp>The city’s arts organizations, even its most longstanding institutions, are clearly vulnerable right now. In the time it takes to hire an executive director of arts and culture — and for that person to stabilize San Francisco’s arts sector, let alone strengthen it — we may see even more announcements like yesterday’s from MCCLA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is all to say: hurry up, before it’s too late.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a day of extremes. On Wednesday morning, Mayor Daniel Lurie announced his search for \u003ca href=\"https://www.sf.gov/news-mayor-lurie-advances-reimagined-citywide-arts-and-culture-strategy-to-support-san-franciscos-recovery\">a new executive director\u003c/a> to oversee the city’s three art agencies. \u003c/p>\n\u003cp>San Francisco’s executive director of arts and culture, to be paid between $210,678 and $268,814, will head a new agency to “unify the work” of the San Francisco Arts Commission (SFAC), Grants for the Arts (GFTA) and the Film Commission (Film SF).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But by the afternoon, news broke that the \u003ca href=\"https://www.kqed.org/news/12071507/financial-crisis-forces-sfs-mission-cultural-center-for-latino-arts-to-close\">Mission Cultural Center for Latino Arts\u003c/a> (MCCLA) had suddenly and indefinitely closed. The nonprofit arts center, a Mission District hub since its founding by artists and community members in 1977, had run out of operating funds and left its empty building — owned by the city — in the hands of the SFAC.\u003c/p>\n\u003cp>Combined with the news of California College of the Arts’ \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">upcoming closure\u003c/a>, layoffs at the performing arts space \u003ca href=\"https://www.kqed.org/arts/13985512/san-francisco-counterpulse-union-labor-dispute\">CounterPulse\u003c/a>, the Contemporary Jewish Museum’s \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">continued limbo state\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13984752/jack-fischer-gallery-closing-minnesota-street-project\">gallery\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978734/how-to-save-bay-area-theater-from-collapse-and-closures\">theater\u003c/a> closures across the city, MCCLA’s struggles top off an avalanche of recent bad news. \u003c/p>\n\u003cp>“There’s just so much happening,” Rachelle Axel tells KQED. “And the very local arts community of San Francisco hasn’t really been feeling like there’s been adequate attention to what has been going on.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Axel is just three weeks into a new position as executive director of \u003ca href=\"https://www.betterbayarea.org/\">Arts for a Better Bay Area\u003c/a> (ABBA), a regional arts advocacy group that in 2018 rallied crucial support to pass San Francisco’s Prop E, which reallocated 1.5% of hotel tax revenue to arts and culture.\u003c/p>\n\u003cp>Still, Axel sees the new \u003ca href=\"https://jobs.crelate.com/portal/berkeleysearchconsultants/job/4b9bkeys6a4q3ma7ufbwrqh86a\">job posting\u003c/a> as a good sign, even as she expresses frustration with the slow speed at which it was put out. (Lurie first mentioned \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">unifying the three arts organizations\u003c/a> under a single leader back in May 2025.)\u003c/p>\n\u003cp>“There’s been a lot of talk about the arts leading revitalization efforts,” Axel says, “but when it’s been no activity for eight months out of the 12 months that the new administration has been in place, it feels like it’s a bit more talk and less action.”\u003c/p>\n\u003cp>On the surface, merging the city’s arts and film agencies makes a certain sense. Currently, the \u003ca href=\"https://www.sfartscommission.org/\">SFAC\u003c/a> provides grants to individual artists, arts nonprofits and the city’s seven cultural centers, in addition to funding public art projects. It also organizes exhibitions in \u003ca href=\"https://www.sfartscommission.org/our-role-impact/programs/sfac-galleries\">two gallery spaces\u003c/a>, one in the War Memorial Veterans Building, the other in City Hall. \u003c/p>\n\u003cfigure id=\"attachment_13875611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_46_COVER-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio sifts through the SFAC Galleries’ 50-year history in ‘The Capricorn Chronicles,’ a 2020 gallery show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sf.gov/departments--city-administrator--grants-arts\">GFTA\u003c/a> provides general operating support to San Francisco arts nonprofits, including festivals and parades. \u003ca href=\"https://www.sf.gov/departments--office-economic-and-workforce-development--film-sf\">Film SF\u003c/a> helps filmmakers get shooting permits and fee rebates, and operates one granting opportunity. (Now housed under the Office of Economic and Workforce Development, Film SF is clearly the odd man out here.)\u003c/p>\n\u003cp>Wednesday’s announcement said the merger aimed for “simpler grant applications, better-aligned timelines, and ensuring resources continue to reach working artists.” Current leaders of all three agencies (Ralph Remington at the SFAC, Kristen Jacobson at GFTA, and Manijeh Fata at Film SF) will keep their jobs, but are also welcome to apply to the executive director position.\u003c/p>\n\u003cp>Many questions remain.\u003c/p>\n\u003cp>In October and November of 2025, the mayor’s office and the three agencies organized a series of community meetings around the merger, seemingly to answer some of those questions. At the Oct. 28 meeting I attended, consultants asked the audience — mostly former grantees and agency employees — “What concerns you about the merger?” and “What opportunity does the merger offer?” \u003c/p>\n\u003cp>My table could come up with few opportunities. All were worried, especially those who had experienced years of shifting priorities from the SFAC and \u003ca href=\"https://www.kqed.org/arts/13908328/frustrating-delays-in-city-funding-affect-over-200-sf-arts-nonprofits\">delays from GFTA\u003c/a>, that this merger would decrease the funding available to arts nonprofits. In a recent email, ABBA summarized the proceedings as leaving hundreds of attendees “with little information, and a sense of uncertainty about the future of these entities.”\u003c/p>\n\u003cfigure id=\"attachment_13965110\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg\" alt=\"white man in suit gestures with one hand at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lurie at SFJAZZ Center on Sept. 18, 2024, when he was participating in the Arts Town Hall Mayoral Forum, produced by Arts for a Better Bay Area. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lurie’s administration was already on rocky ground with the arts community. In June, the SFAC attempted to change the way it distributes money to nonprofits, capping payment advances at 50% and requiring more paperwork in the form of quarterly reports. Nonprofit leaders mobilized to protest the sudden changes, and \u003ca href=\"https://www.sfchronicle.com/sf/article/art-funding-san-francisco-20392389.php\">were granted a temporary reprieve\u003c/a>.\u003c/p>\n\u003cp>Understandably, much of Lurie’s focus has been on San Francisco’s downtown, for both economic and symbolic reasons. Partnerships with nonprofits and private donors have created programs like \u003ca href=\"https://www.vibrantsf.org/\">Vacant to Vibrant\u003c/a> (which connects local businesses to empty retail spaces), and brought in grants like \u003ca href=\"https://www.svaneff.org/cultureforward\">Culture Forward\u003c/a>, given out by the Svane Family Foundation. \u003c/p>\n\u003cp>But as Axel points out, people need the arts in every corner of San Francisco — which is why accessible spaces like MCCLA are so important. \u003c/p>\n\u003cp>“This stuff is happening downtown and it’s new and shiny,” she says. “But there’s not a lot of attention about or conversation with the arts organizations around the rest of the city — the ones that are working in communities, the cultural centers that have been there for decades and decades and have an incredible impact in their communities.” \u003c/p>\n\u003cp>The city’s arts organizations, even its most longstanding institutions, are clearly vulnerable right now. In the time it takes to hire an executive director of arts and culture — and for that person to stabilize San Francisco’s arts sector, let alone strengthen it — we may see even more announcements like yesterday’s from MCCLA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is all to say: hurry up, before it’s too late.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "big-art-loop-sijbrandij-foundation-san-francisco-public-art",
"title": "Who Has a Say in the Flood of Public Art Coming to San Francisco?",
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"headTitle": "Who Has a Say in the Flood of Public Art Coming to San Francisco? | KQED",
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"content": "\u003cfigure id=\"attachment_13982183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg\" alt=\"collage of sculptures superimposed over city skyline\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation’s Big Art Loop, created by artists Dana Albany, Marco Cochrane, Peter Hazel, El Nino, Mathias Gmachl, Kristen Berg, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. \u003ccite>(Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People who make \u003ca href=\"https://www.kqed.org/arts/tag/public-art\">public art\u003c/a> are the first to tell you that it is not a speedy process.\u003c/p>\n\u003cp>It took eight long years for Jesse Schlesinger’s \u003ci>\u003ca href=\"https://kiosk.sfartscommission.org/objects-1/info?query=_ID%20%3D%20%22ALL%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22%20and%20Disp_Maker_1%20%3D%20%22Jesse%20Schlesinger%22&sort=7&objectName=Cover%20Record:%20Pacific%20Transit\">Pacific Transit\u003c/a>\u003c/i> to come to fruition in the Outer Sunset neighborhood, where the San Francisco Arts Commission installed his 10 bronze, stone and cast-concrete sculptures in February.\u003c/p>\n\u003cp>“As challenging as those years were — and on occasion they intensely pushed the limits of my patience and were totally exasperating,” he says, “in the end, and what kept me at it, was that I would be afforded the opportunity to make work of this scale.”\u003c/p>\n\u003cp>With the SFAC commission came requirements for permanence and durability in a coastal environment. Both he and SFAC staff worked hard to reach out to and get buy-in from the neighborhood’s residents and small businesses, who in turn helped keep the project alive during the years of delays.\u003c/p>\n\u003cfigure id=\"attachment_13982179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg\" alt=\"cast bronze driftwood, round stone and concrete plinths on city street\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three of the 10 pieces in Jesse Schlesinger’s ‘Pacific Transit,’ 2024; Bronze and stone on concrete at Judah and the Great Highway. \u003ccite>(Photo by Ethan Kaplan; Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast, the \u003ca href=\"https://sijbrandijfoundation.org/public-big-art\">Sijbrandij Foundation\u003c/a> has managed to place temporary public art around San Francisco with great speed. Since late 2024, the nonprofit established by billionaire Sid Sijbrandij, co-founder of GitLab, has funded eight pieces of “big art,” and plans to install another dozen along San Francisco’s eastern waterfront by the end of 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13981940']Last week, the foundation and \u003ca href=\"https://www.instagram.com/p/DPPoC-QkjDk/?hl=en\">Mayor Daniel Lurie\u003c/a> announced the launch of a “\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Big Art Loop\u003c/a>” around the city, aiming to install up to 100 pieces of temporary large-scale public art over the next three years. Many of those pieces, inevitably, will be leftovers from Burning Man. “We’re fans of big art in general,” Sijbrandij told KQED, “but of course, yes, in San Francisco, a lot of the big art people make does visit Burning Man.”\u003c/p>\n\u003cp>With this project, the Sijbrandij Foundation and the art agency Building 180, which oversees curation and operations, will radically alter the aesthetic and physical landscape of San Francisco. And they’ll do it with little to no oversight from the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/Public-ArtCivic-Art-Collection#2.%20Charter\">arts commission tasked by our city charter\u003c/a> with the approval of all public artworks.\u003c/p>\n\u003cp>In other words: A billionaire aims to display 100 pieces of large-scale art around the city, which he’s allowed to do simply because he’s paying for it. And the city of San Francisco isn’t saying no to him.\u003c/p>\n\u003cfigure id=\"attachment_13981941\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg\" alt=\"recycled metal sculpture of mermaid on waterfront\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dana Albany’s ‘Coralee,’ installed at San Francisco Pier 1/2 as part of the Big Art Loop. \u003ccite>(Arianna Cunha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Time to consider that public process’\u003c/h2>\n\u003cp>To be clear, the Sijbrandij Foundation and Building 180 have gone about the Big Art Loop project through legal channels, completely by the book. The project’s first temporary art installations at \u003ca href=\"https://www.kqed.org/arts/13973169/temporary-public-art-great-highway-ocean-beach-plans\">Sunset Dunes\u003c/a>, in \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=2339\">Golden Gate Park\u003c/a> and at \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">Embarcadero Plaza\u003c/a> were all accomplished in partnership with the Recreation and Parks department, and passed through the Art Commission for approval.\u003c/p>\n\u003cp>The newest Sijbrandij-funded installation, Dana Albany’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Coralee\u003c/a>\u003c/i>, a recycled metal and glass mermaid, is situated at Pier ½, on Port of San Francisco property. It and the 11 pieces to come, stretching from Fisherman’s Wharf to Heron’s Head Park, were approved by the Port’s executive director, per the Port’s Public Art Program.\u003c/p>\n\u003cp>But just because the Big Art Loop team has found a way to install large-scale sculpture in public spaces by going through city agencies that \u003ci>don’t\u003c/i> specialize in art, doesn’t mean it should.\u003c/p>\n\u003cp>Sijbrandij told KQED that the project was partially inspired by how much big art is \u003ci>not\u003c/i> on display. “It gets built, these amazing pieces, and they’re sitting around in storage,” he said. “When I learned that, I was like, ‘Let’s get them out of storage and get them into the city so that they can enrich people’s days.’”\u003c/p>\n\u003cp>Jill Manton, a public art professional and the former director of the SFAC’s Public Art Trust and Special Initiatives, believes the city could use more temporary public art. “I think there’s great benefits on many levels,” she told KQED, “to introducing art to the public in a way that they don’t feel like, ‘Wow, I don’t really love this. I have to live with it forever.’”\u003c/p>\n\u003cp>Manton wrote the 2012 legislation that created the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-fact-sheet\">Public Art Trust\u003c/a>, which allows private developers to put their \u003ca href=\"https://sfplanning.org/privately-owned-public-open-space-and-public-art\">1%-for-art requirement\u003c/a> into a funding pool in lieu of installing publicly accessible art themselves. The trust can pay for temporary or permanent public art, for the conservation of the Civic Art Collection, or can be made available to eligible cultural nonprofits for public-facing programs or capital improvements.\u003c/p>\n\u003cfigure id=\"attachment_13982181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg\" alt=\"large bronze of young woman in jogging gear in front of ferry building\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas J. Price’s ‘As Sounds Turn to Noise’ photographed in front of the San Francisco Ferry Building on July 14, 2024. \u003ccite>(Scott Strazzante/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most recently, the trust paid for the temporary installation of Thomas J. Price’s \u003ci>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/nine-foot-bronze-sculpture-internationally-renowned-artist\">As Sounds Turn to Noise\u003c/a>\u003c/i>, a 9-foot-tall statue of a young Black woman in jogging gear, right where \u003ci>Coralee\u003c/i> is now placed. It’s worth noting that Price’s piece, loaned by Hauser & Wirth gallery, wouldn’t meet the size requirements of the Big Art Loop, which wants work over 10 feet in height or width. The Big Art Loop is not going for subtlety; it seeks to interrupt the visual landscape and stop people in their tracks.\u003c/p>\n\u003cp>[aside postID='news_12055275']Manton says she didn’t get to install nearly as much temporary public artwork as she would have liked during her tenure. Certain established sites in the city — the Civic Center, Patricia’s Green in Hayes Valley — have been the most common destinations for temporary sculpture. She also explains that many of the pieces the SFAC installed over the years did not go through a period of public feedback, due to their temporary nature. “For better or worse,” she says, “we didn’t hold open public meetings about the next big project coming to Civic Center.”\u003c/p>\n\u003cp>“Now when I hear about a program like the Big Art Loop, where they’ve mapped out multiple locations, I think it’s time to consider that public process,” Manton says. “Because it’s not an occasional, every few years, every five years or something like that. It’s occurring with regular frequency now.”\u003c/p>\n\u003cp>Schlesinger shares that sentiment. “I wish that some of these [Big Art Loop pieces] were going through the vetting process that I went through,” he says, even if these works are only installed for six months to a year. With the massive volume of artwork planned, “It just feels a little bit like a slippery slope.”\u003c/p>\n\u003cfigure id=\"attachment_13974425\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg\" alt=\"giant metal mesh sculpture of nude woman in front of SF Ferry Building, crowd below\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for the April 10, 2025 press preview of ‘R-Evolution, a 45-foot metal statue created by Petaluma artist Marco Cochrane, installed at Embarcadero Plaza in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re already witnessing that slippery slope. Marco Cochrane’s \u003ci>R-Evolution\u003c/i> was placed in Embarcadero Plaza in April for a period of six months, with the option to extend its installation up to a year. The piece was quietly extended by Recreation and Parks through March 2026, as first reported by \u003ca href=\"https://sfstandard.com/2025/09/30/embaracadero-naked-lady-statue-extension-march-2026/\">SF Standard\u003c/a>. A city spokesperson told KQED it could stay for even longer, pending approval by Recreation and Parks and the SFAC.\u003c/p>\n\u003cp>Meanwhile, the Building 180 team says securing public buy-in for Big Art Loop installations has been a challenge. “What we would love to learn from you is how do we get more feedback from the community?” the Building 180 account wrote to this reporter over Instagram. “No one shows up to commission meetings or community meetings anymore, we do outreach, flyers, show up to panels and no one responds. Except on social media?”\u003c/p>\n\u003cp>One agency that does have experience in this regard is — you guessed it — the SFAC.\u003c/p>\n\u003ch2>We don’t have to reinvent the wheel\u003c/h2>\n\u003cp>When the SFAC is involved in a piece of public art, a staff of arts professionals — trained curators, many of them — works with community members and neighborhood groups to spread the word about the project. An ad hoc review panel that includes project stakeholders evaluates proposals. The mayoral-appointed Visual Arts Committee and ultimately the full Arts Commission weigh in. And most importantly, an announced period of public feedback allows for in-person and written comment.\u003c/p>\n\u003cp>[aside postID='arts_13938291']In the case of the renovation of the Chinatown Public Health Center, rigorous outreach via community groups was crucial to the decision to \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">remove Patti Bowler’s 1970 \u003ci>Dragon Relief\u003c/i>\u003c/a> from the building’s Broadway-facing façade — a sculpture that, incidentally, was installed without any say-so from the neighborhood’s residents.\u003c/p>\n\u003cp>Could the Sijbrandij Foundation direct its Big Art Loop funding to the Public Art Trust, earmark it for large-scale temporary sculpture and let the SFAC do what they do best? Manton says that unfortunately, the Public Art Trust isn’t currently set up to receive private donations — just funds from eligible private developers. But there’s no reason that legislation couldn’t change.\u003c/p>\n\u003cp>She also points to \u003ca href=\"https://www.sfartscommission.org/get-involved/donate\">ArtCare\u003c/a>, a nonprofit that can receive donations towards the upkeep of the Civic Art Collection. Such funds helped restore Keith Haring’s \u003ci>Untitled (Three Dancing Figures)\u003c/i> in 2012 outside Moscone Center. Perhaps its scope could be expanded to receive funds from the Sijbrandij Foundation for temporary public artworks.\u003c/p>\n\u003cp>If Mayor Lurie really wants to make the Big Art Loop a successful public-private partnership, why not utilize existing city expertise and remunerate city staffers for their time in the process? The only downsides I can think of are that the project might move slower (not necessarily a bad thing) and Building 180 wouldn’t get to pick all the art.\u003c/p>\n\u003cfigure id=\"attachment_13974428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of the San Francisco Arts Commission, Recreation and Parks, the Port of San Francisco, Building 180 and, at center, model Deja Solis and artist Marco Cochrane imitate the pose of ‘R-Evolution’ at Embarcadero Plaza. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, we have private money funding large-scale art of its own choosing in some of San Francisco’s most iconic public spaces. The Big Art Loop, unlike the SFAC, is not tasked with the responsibility of displaying artworks that reflect “diversity in style, scale, media, and artistic sources as well as diverse cultural communities and perspectives.” The Big Art Loop looks for existing work only, which artists created with their own funds or fundraised towards — a prohibitive up-front expense for so many.\u003c/p>\n\u003cp>What happens when the Big Art Loop runs out of Port and Recreation and Parks properties to place its 100 pieces on? For the loop to be truly equitable, it needs to spread its gift of temporary public art beyond established scenic destinations.\u003c/p>\n\u003cp>As for the public’s role as the recipient of these gifts — let your appreciation or criticisms of this project be known in tangible ways. Email or call \u003ca href=\"https://sfrecpark.org/415/Contact-Us\">Recreation and Parks\u003c/a>, the \u003ca href=\"https://www.sfport.com/contactus\">Port of San Francisco\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/contact\">SFAC\u003c/a>, \u003ca href=\"https://building180.com/contact\">Building 180\u003c/a> \u003ci>and\u003c/i> the \u003ca href=\"mailto:foundation@sijbrandijfoundation.org\" target=\"_blank\" rel=\"noopener\">Sijbrandij Foundation\u003c/a>. Tell them what you think of the Big Art Loop, which will be occupying your public space for the next three years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Oct. 7: A previous version of this story mis-titled Jesse Schlesinger’s public artwork.\u003c/i>\u003c/p>\n\n",
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"title": "The Big Art Loop Needs Public Oversight | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg\" alt=\"collage of sculptures superimposed over city skyline\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation’s Big Art Loop, created by artists Dana Albany, Marco Cochrane, Peter Hazel, El Nino, Mathias Gmachl, Kristen Berg, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. \u003ccite>(Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People who make \u003ca href=\"https://www.kqed.org/arts/tag/public-art\">public art\u003c/a> are the first to tell you that it is not a speedy process.\u003c/p>\n\u003cp>It took eight long years for Jesse Schlesinger’s \u003ci>\u003ca href=\"https://kiosk.sfartscommission.org/objects-1/info?query=_ID%20%3D%20%22ALL%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22%20and%20Disp_Maker_1%20%3D%20%22Jesse%20Schlesinger%22&sort=7&objectName=Cover%20Record:%20Pacific%20Transit\">Pacific Transit\u003c/a>\u003c/i> to come to fruition in the Outer Sunset neighborhood, where the San Francisco Arts Commission installed his 10 bronze, stone and cast-concrete sculptures in February.\u003c/p>\n\u003cp>“As challenging as those years were — and on occasion they intensely pushed the limits of my patience and were totally exasperating,” he says, “in the end, and what kept me at it, was that I would be afforded the opportunity to make work of this scale.”\u003c/p>\n\u003cp>With the SFAC commission came requirements for permanence and durability in a coastal environment. Both he and SFAC staff worked hard to reach out to and get buy-in from the neighborhood’s residents and small businesses, who in turn helped keep the project alive during the years of delays.\u003c/p>\n\u003cfigure id=\"attachment_13982179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg\" alt=\"cast bronze driftwood, round stone and concrete plinths on city street\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three of the 10 pieces in Jesse Schlesinger’s ‘Pacific Transit,’ 2024; Bronze and stone on concrete at Judah and the Great Highway. \u003ccite>(Photo by Ethan Kaplan; Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast, the \u003ca href=\"https://sijbrandijfoundation.org/public-big-art\">Sijbrandij Foundation\u003c/a> has managed to place temporary public art around San Francisco with great speed. Since late 2024, the nonprofit established by billionaire Sid Sijbrandij, co-founder of GitLab, has funded eight pieces of “big art,” and plans to install another dozen along San Francisco’s eastern waterfront by the end of 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last week, the foundation and \u003ca href=\"https://www.instagram.com/p/DPPoC-QkjDk/?hl=en\">Mayor Daniel Lurie\u003c/a> announced the launch of a “\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Big Art Loop\u003c/a>” around the city, aiming to install up to 100 pieces of temporary large-scale public art over the next three years. Many of those pieces, inevitably, will be leftovers from Burning Man. “We’re fans of big art in general,” Sijbrandij told KQED, “but of course, yes, in San Francisco, a lot of the big art people make does visit Burning Man.”\u003c/p>\n\u003cp>With this project, the Sijbrandij Foundation and the art agency Building 180, which oversees curation and operations, will radically alter the aesthetic and physical landscape of San Francisco. And they’ll do it with little to no oversight from the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/Public-ArtCivic-Art-Collection#2.%20Charter\">arts commission tasked by our city charter\u003c/a> with the approval of all public artworks.\u003c/p>\n\u003cp>In other words: A billionaire aims to display 100 pieces of large-scale art around the city, which he’s allowed to do simply because he’s paying for it. And the city of San Francisco isn’t saying no to him.\u003c/p>\n\u003cfigure id=\"attachment_13981941\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg\" alt=\"recycled metal sculpture of mermaid on waterfront\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dana Albany’s ‘Coralee,’ installed at San Francisco Pier 1/2 as part of the Big Art Loop. \u003ccite>(Arianna Cunha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Time to consider that public process’\u003c/h2>\n\u003cp>To be clear, the Sijbrandij Foundation and Building 180 have gone about the Big Art Loop project through legal channels, completely by the book. The project’s first temporary art installations at \u003ca href=\"https://www.kqed.org/arts/13973169/temporary-public-art-great-highway-ocean-beach-plans\">Sunset Dunes\u003c/a>, in \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=2339\">Golden Gate Park\u003c/a> and at \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">Embarcadero Plaza\u003c/a> were all accomplished in partnership with the Recreation and Parks department, and passed through the Art Commission for approval.\u003c/p>\n\u003cp>The newest Sijbrandij-funded installation, Dana Albany’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Coralee\u003c/a>\u003c/i>, a recycled metal and glass mermaid, is situated at Pier ½, on Port of San Francisco property. It and the 11 pieces to come, stretching from Fisherman’s Wharf to Heron’s Head Park, were approved by the Port’s executive director, per the Port’s Public Art Program.\u003c/p>\n\u003cp>But just because the Big Art Loop team has found a way to install large-scale sculpture in public spaces by going through city agencies that \u003ci>don’t\u003c/i> specialize in art, doesn’t mean it should.\u003c/p>\n\u003cp>Sijbrandij told KQED that the project was partially inspired by how much big art is \u003ci>not\u003c/i> on display. “It gets built, these amazing pieces, and they’re sitting around in storage,” he said. “When I learned that, I was like, ‘Let’s get them out of storage and get them into the city so that they can enrich people’s days.’”\u003c/p>\n\u003cp>Jill Manton, a public art professional and the former director of the SFAC’s Public Art Trust and Special Initiatives, believes the city could use more temporary public art. “I think there’s great benefits on many levels,” she told KQED, “to introducing art to the public in a way that they don’t feel like, ‘Wow, I don’t really love this. I have to live with it forever.’”\u003c/p>\n\u003cp>Manton wrote the 2012 legislation that created the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-fact-sheet\">Public Art Trust\u003c/a>, which allows private developers to put their \u003ca href=\"https://sfplanning.org/privately-owned-public-open-space-and-public-art\">1%-for-art requirement\u003c/a> into a funding pool in lieu of installing publicly accessible art themselves. The trust can pay for temporary or permanent public art, for the conservation of the Civic Art Collection, or can be made available to eligible cultural nonprofits for public-facing programs or capital improvements.\u003c/p>\n\u003cfigure id=\"attachment_13982181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg\" alt=\"large bronze of young woman in jogging gear in front of ferry building\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas J. Price’s ‘As Sounds Turn to Noise’ photographed in front of the San Francisco Ferry Building on July 14, 2024. \u003ccite>(Scott Strazzante/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most recently, the trust paid for the temporary installation of Thomas J. Price’s \u003ci>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/nine-foot-bronze-sculpture-internationally-renowned-artist\">As Sounds Turn to Noise\u003c/a>\u003c/i>, a 9-foot-tall statue of a young Black woman in jogging gear, right where \u003ci>Coralee\u003c/i> is now placed. It’s worth noting that Price’s piece, loaned by Hauser & Wirth gallery, wouldn’t meet the size requirements of the Big Art Loop, which wants work over 10 feet in height or width. The Big Art Loop is not going for subtlety; it seeks to interrupt the visual landscape and stop people in their tracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Manton says she didn’t get to install nearly as much temporary public artwork as she would have liked during her tenure. Certain established sites in the city — the Civic Center, Patricia’s Green in Hayes Valley — have been the most common destinations for temporary sculpture. She also explains that many of the pieces the SFAC installed over the years did not go through a period of public feedback, due to their temporary nature. “For better or worse,” she says, “we didn’t hold open public meetings about the next big project coming to Civic Center.”\u003c/p>\n\u003cp>“Now when I hear about a program like the Big Art Loop, where they’ve mapped out multiple locations, I think it’s time to consider that public process,” Manton says. “Because it’s not an occasional, every few years, every five years or something like that. It’s occurring with regular frequency now.”\u003c/p>\n\u003cp>Schlesinger shares that sentiment. “I wish that some of these [Big Art Loop pieces] were going through the vetting process that I went through,” he says, even if these works are only installed for six months to a year. With the massive volume of artwork planned, “It just feels a little bit like a slippery slope.”\u003c/p>\n\u003cfigure id=\"attachment_13974425\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg\" alt=\"giant metal mesh sculpture of nude woman in front of SF Ferry Building, crowd below\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for the April 10, 2025 press preview of ‘R-Evolution, a 45-foot metal statue created by Petaluma artist Marco Cochrane, installed at Embarcadero Plaza in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re already witnessing that slippery slope. Marco Cochrane’s \u003ci>R-Evolution\u003c/i> was placed in Embarcadero Plaza in April for a period of six months, with the option to extend its installation up to a year. The piece was quietly extended by Recreation and Parks through March 2026, as first reported by \u003ca href=\"https://sfstandard.com/2025/09/30/embaracadero-naked-lady-statue-extension-march-2026/\">SF Standard\u003c/a>. A city spokesperson told KQED it could stay for even longer, pending approval by Recreation and Parks and the SFAC.\u003c/p>\n\u003cp>Meanwhile, the Building 180 team says securing public buy-in for Big Art Loop installations has been a challenge. “What we would love to learn from you is how do we get more feedback from the community?” the Building 180 account wrote to this reporter over Instagram. “No one shows up to commission meetings or community meetings anymore, we do outreach, flyers, show up to panels and no one responds. Except on social media?”\u003c/p>\n\u003cp>One agency that does have experience in this regard is — you guessed it — the SFAC.\u003c/p>\n\u003ch2>We don’t have to reinvent the wheel\u003c/h2>\n\u003cp>When the SFAC is involved in a piece of public art, a staff of arts professionals — trained curators, many of them — works with community members and neighborhood groups to spread the word about the project. An ad hoc review panel that includes project stakeholders evaluates proposals. The mayoral-appointed Visual Arts Committee and ultimately the full Arts Commission weigh in. And most importantly, an announced period of public feedback allows for in-person and written comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the case of the renovation of the Chinatown Public Health Center, rigorous outreach via community groups was crucial to the decision to \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">remove Patti Bowler’s 1970 \u003ci>Dragon Relief\u003c/i>\u003c/a> from the building’s Broadway-facing façade — a sculpture that, incidentally, was installed without any say-so from the neighborhood’s residents.\u003c/p>\n\u003cp>Could the Sijbrandij Foundation direct its Big Art Loop funding to the Public Art Trust, earmark it for large-scale temporary sculpture and let the SFAC do what they do best? Manton says that unfortunately, the Public Art Trust isn’t currently set up to receive private donations — just funds from eligible private developers. But there’s no reason that legislation couldn’t change.\u003c/p>\n\u003cp>She also points to \u003ca href=\"https://www.sfartscommission.org/get-involved/donate\">ArtCare\u003c/a>, a nonprofit that can receive donations towards the upkeep of the Civic Art Collection. Such funds helped restore Keith Haring’s \u003ci>Untitled (Three Dancing Figures)\u003c/i> in 2012 outside Moscone Center. Perhaps its scope could be expanded to receive funds from the Sijbrandij Foundation for temporary public artworks.\u003c/p>\n\u003cp>If Mayor Lurie really wants to make the Big Art Loop a successful public-private partnership, why not utilize existing city expertise and remunerate city staffers for their time in the process? The only downsides I can think of are that the project might move slower (not necessarily a bad thing) and Building 180 wouldn’t get to pick all the art.\u003c/p>\n\u003cfigure id=\"attachment_13974428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of the San Francisco Arts Commission, Recreation and Parks, the Port of San Francisco, Building 180 and, at center, model Deja Solis and artist Marco Cochrane imitate the pose of ‘R-Evolution’ at Embarcadero Plaza. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, we have private money funding large-scale art of its own choosing in some of San Francisco’s most iconic public spaces. The Big Art Loop, unlike the SFAC, is not tasked with the responsibility of displaying artworks that reflect “diversity in style, scale, media, and artistic sources as well as diverse cultural communities and perspectives.” The Big Art Loop looks for existing work only, which artists created with their own funds or fundraised towards — a prohibitive up-front expense for so many.\u003c/p>\n\u003cp>What happens when the Big Art Loop runs out of Port and Recreation and Parks properties to place its 100 pieces on? For the loop to be truly equitable, it needs to spread its gift of temporary public art beyond established scenic destinations.\u003c/p>\n\u003cp>As for the public’s role as the recipient of these gifts — let your appreciation or criticisms of this project be known in tangible ways. Email or call \u003ca href=\"https://sfrecpark.org/415/Contact-Us\">Recreation and Parks\u003c/a>, the \u003ca href=\"https://www.sfport.com/contactus\">Port of San Francisco\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/contact\">SFAC\u003c/a>, \u003ca href=\"https://building180.com/contact\">Building 180\u003c/a> \u003ci>and\u003c/i> the \u003ca href=\"mailto:foundation@sijbrandijfoundation.org\" target=\"_blank\" rel=\"noopener\">Sijbrandij Foundation\u003c/a>. Tell them what you think of the Big Art Loop, which will be occupying your public space for the next three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Oct. 7: A previous version of this story mis-titled Jesse Schlesinger’s public artwork.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "D’Arcy Drollinger, Nation’s First Drag Laureate, Boosts SF Pride",
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"content": "\u003cp>Getting \u003ca href=\"https://www.darcydrollinger.com/\">D’Arcy Drollinger\u003c/a> ready for her first official appearance as San Francisco drag laureate was a production.\u003c/p>\n\u003cp>The artist, night club owner and newly appointed government official stood in the living room of her San Francisco apartment as two helpers grappled with a set of bejeweled, custom-made artificial nails and wedged her into a pair of white patent stilettos and a tight, pink skirt suit. Finally, Drollinger stepped out of the house, and into a very busy schedule.\u003c/p>\n\u003cp>“I am speaking at the San Francisco Arts Commission,” Drollinger said. “I’m also on the same day speaking at the Entertainment Commission. I’m also going to speak at a high school. I’ll be in the parade with the mayor.”\u003c/p>\n\u003cp>The word “laureate” is most often attached to the winner of a Nobel Prize, or a poet whose job it is to mark official occasions in verse. But a “drag laureate” is something new.\u003c/p>\n\u003cfigure id=\"attachment_13930406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe\" alt=\"A drag queen in a blond wig sits before a stage makeup mirror, lipstick in hand. She is pouting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger applies lipstick at her apartment in preparation for her inaugural appearance as San Francisco drag laureate. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s LGBTQ task-force proposed the creation of the \u003ca href=\"https://sf.gov/drag-laureate-program\">drag laureate position\u003c/a> around three years ago during the darkest days of the COVID-19 pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve been through a really hard time,” said San Francisco Mayor London Breed a few days ahead of the flag-raising ceremony that’s the kick-off to the city’s annual \u003ca href=\"https://sfpride.org/\">Pride celebration\u003c/a>. And so to city officials, a drag laureate seemed to be — if not a cure, at least something of a panacea, thanks to “the creativity, the joy that a drag laureate brings.”\u003c/p>\n\u003cp>[aside postid='arts_13883181']Breed said one of Drollinger’s selling points as a candidate for the job, which comes with an 18-month term and $55,000 stipend, was her track record as a spreader of sparkle.\u003c/p>\n\u003cp>The nightclub owner pivoted during lockdown to run a food delivery service — “Meals on Heels” — out of \u003ca href=\"https://www.sfoasis.com/\">Oasis\u003c/a>, the drag club she owns in downtown San Francisco. Performers in drag from Oasis delivered meals and cocktails to local residents, with a side order of curb-side lip-synching.\u003c/p>\n\u003cp>“It brought a lot of love and excitement,” Breed said of Drollinger’s drag performance-infused food delivery service.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oBWRRwJk-jc\u003c/p>\n\u003cp>But Breed said the recent attacks against drag performers, as well as a \u003ca href=\"https://www.npr.org/2023/02/08/1151731736/at-least-10-state-legislatures-trying-restrict-criminalize-drag-shows\">rise in anti-drag legislation\u003c/a> in different parts of the country, now make the appointment of a drag laureate particularly crucial.\u003c/p>\n\u003cp>“In some of those communities where something like this wouldn’t be considered acceptable behavior, there’s a kid that’s thinking, ‘Oh my goodness: she’s like me. I can be myself without fear,'” Breed said.\u003c/p>\n\u003cp>LGBTQ activists around the country are working to fight a slew of anti-drag laws currently under consideration in various states.\u003c/p>\n\u003cp>“It’s scary right now,” said Kylo Freeman, CEO and founder of \u003ca href=\"https://www.forthem.com/\">For Them\u003c/a>, a trans-owned brand that makes apparel for transgender people, and the force behind “Drag is Divine,” an advertising campaign that aims to raise awareness and funding to help fight anti-drag laws. “The backlash is real.”\u003c/p>\n\u003cfigure id=\"attachment_13930407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930407\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg\" alt='A drag king and queen recline together in a tropical green space. Next to them is the text: \"So hot they started a culture war for us.\"' width=\"800\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1536x672.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712.jpg 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Drag is Divine” advertising campaign poster. \u003ccite>(For Them)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman said they’re excited to see local governments highlight drag culture in such a visible way. In West Hollywood, \u003ca href=\"https://www.weho.org/community/arts-and-culture/drag-laureate\">officials plan to appoint a drag laureate\u003c/a> later this month.\u003c/p>\n\u003cp>[aside postid='arts_13835007']“I think it’s a real step forward to have these roles in place, giving us folks that can speak on behalf of the community at a large scale,” Freeman said.\u003c/p>\n\u003cp>But \u003ca href=\"https://legistar.council.nyc.gov/LegislationDetail.aspx?ID=5656533&GUID=5C982F50-33A6-4C4D-A4C3-1AA2F5CE2754\">plans to create a drag laureate in New York\u003c/a>, where Freeman is based, have stalled. And Freeman said they don’t see similar positions cropping up in parts of the country that are less friendly to LGBTQ people anytime soon.\u003c/p>\n\u003cp>“We are so politicized right now,” Freeman said. “And I think we’ve forgotten that this is just a human rights issue.”\u003c/p>\n\u003cp>At the San Francisco Pride kickoff, Drollinger not only assisted the mayor in the traditional unfurling of the Pride flag outside City Hall — she also posed for photos, dispensed hugs and made her first official speech as drag laureate.\u003c/p>\n\u003cfigure id=\"attachment_13930408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe\" alt=\"A drag queen in a pink and white suit stands at a podium and speaks, with a Black woman in a white suit to her right, and a white man in a grey suit to her lift. A series of flag poles are visible lined up behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger delivers her inaugural speech as drag laureate flanked by California State Senator Scott Wiener, left, and San Francisco Mayor London Breed. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drag is many things,” said Drollinger before the crowd of assembled dignitaries and members of the local LGBTQ community. “Drag is art. Drag is activism. Drag is joy. Drag is instrumental to bringing people together. Drag is fabulous.”\u003c/p>\n\u003cp>[aside postid='arts_13834837']Afterward, Drollinger cheerfully admitted to not feeling quite prepared to meet the demands of her new job. For instance, being on one’s feet at long-winded civic functions isn’t super compatible with the wearing of three-inch stilettos.\u003c/p>\n\u003cp>“I’ll have to rethink my heels,” she said.\u003c/p>\n\u003cp>But the nation’s first ever drag laureate said she’s willing to improvise: “Sometimes you have to lip sync to whatever song gets turned on.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nation%27s+first+%27drag+laureate%27+kicks+off+Pride+in+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Getting \u003ca href=\"https://www.darcydrollinger.com/\">D’Arcy Drollinger\u003c/a> ready for her first official appearance as San Francisco drag laureate was a production.\u003c/p>\n\u003cp>The artist, night club owner and newly appointed government official stood in the living room of her San Francisco apartment as two helpers grappled with a set of bejeweled, custom-made artificial nails and wedged her into a pair of white patent stilettos and a tight, pink skirt suit. Finally, Drollinger stepped out of the house, and into a very busy schedule.\u003c/p>\n\u003cp>“I am speaking at the San Francisco Arts Commission,” Drollinger said. “I’m also on the same day speaking at the Entertainment Commission. I’m also going to speak at a high school. I’ll be in the parade with the mayor.”\u003c/p>\n\u003cp>The word “laureate” is most often attached to the winner of a Nobel Prize, or a poet whose job it is to mark official occasions in verse. But a “drag laureate” is something new.\u003c/p>\n\u003cfigure id=\"attachment_13930406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe\" alt=\"A drag queen in a blond wig sits before a stage makeup mirror, lipstick in hand. She is pouting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger applies lipstick at her apartment in preparation for her inaugural appearance as San Francisco drag laureate. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s LGBTQ task-force proposed the creation of the \u003ca href=\"https://sf.gov/drag-laureate-program\">drag laureate position\u003c/a> around three years ago during the darkest days of the COVID-19 pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve been through a really hard time,” said San Francisco Mayor London Breed a few days ahead of the flag-raising ceremony that’s the kick-off to the city’s annual \u003ca href=\"https://sfpride.org/\">Pride celebration\u003c/a>. And so to city officials, a drag laureate seemed to be — if not a cure, at least something of a panacea, thanks to “the creativity, the joy that a drag laureate brings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Breed said one of Drollinger’s selling points as a candidate for the job, which comes with an 18-month term and $55,000 stipend, was her track record as a spreader of sparkle.\u003c/p>\n\u003cp>The nightclub owner pivoted during lockdown to run a food delivery service — “Meals on Heels” — out of \u003ca href=\"https://www.sfoasis.com/\">Oasis\u003c/a>, the drag club she owns in downtown San Francisco. Performers in drag from Oasis delivered meals and cocktails to local residents, with a side order of curb-side lip-synching.\u003c/p>\n\u003cp>“It brought a lot of love and excitement,” Breed said of Drollinger’s drag performance-infused food delivery service.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oBWRRwJk-jc'\n title='//www.youtube.com/embed/oBWRRwJk-jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Breed said the recent attacks against drag performers, as well as a \u003ca href=\"https://www.npr.org/2023/02/08/1151731736/at-least-10-state-legislatures-trying-restrict-criminalize-drag-shows\">rise in anti-drag legislation\u003c/a> in different parts of the country, now make the appointment of a drag laureate particularly crucial.\u003c/p>\n\u003cp>“In some of those communities where something like this wouldn’t be considered acceptable behavior, there’s a kid that’s thinking, ‘Oh my goodness: she’s like me. I can be myself without fear,'” Breed said.\u003c/p>\n\u003cp>LGBTQ activists around the country are working to fight a slew of anti-drag laws currently under consideration in various states.\u003c/p>\n\u003cp>“It’s scary right now,” said Kylo Freeman, CEO and founder of \u003ca href=\"https://www.forthem.com/\">For Them\u003c/a>, a trans-owned brand that makes apparel for transgender people, and the force behind “Drag is Divine,” an advertising campaign that aims to raise awareness and funding to help fight anti-drag laws. “The backlash is real.”\u003c/p>\n\u003cfigure id=\"attachment_13930407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930407\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg\" alt='A drag king and queen recline together in a tropical green space. Next to them is the text: \"So hot they started a culture war for us.\"' width=\"800\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1536x672.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712.jpg 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Drag is Divine” advertising campaign poster. \u003ccite>(For Them)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman said they’re excited to see local governments highlight drag culture in such a visible way. In West Hollywood, \u003ca href=\"https://www.weho.org/community/arts-and-culture/drag-laureate\">officials plan to appoint a drag laureate\u003c/a> later this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s a real step forward to have these roles in place, giving us folks that can speak on behalf of the community at a large scale,” Freeman said.\u003c/p>\n\u003cp>But \u003ca href=\"https://legistar.council.nyc.gov/LegislationDetail.aspx?ID=5656533&GUID=5C982F50-33A6-4C4D-A4C3-1AA2F5CE2754\">plans to create a drag laureate in New York\u003c/a>, where Freeman is based, have stalled. And Freeman said they don’t see similar positions cropping up in parts of the country that are less friendly to LGBTQ people anytime soon.\u003c/p>\n\u003cp>“We are so politicized right now,” Freeman said. “And I think we’ve forgotten that this is just a human rights issue.”\u003c/p>\n\u003cp>At the San Francisco Pride kickoff, Drollinger not only assisted the mayor in the traditional unfurling of the Pride flag outside City Hall — she also posed for photos, dispensed hugs and made her first official speech as drag laureate.\u003c/p>\n\u003cfigure id=\"attachment_13930408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe\" alt=\"A drag queen in a pink and white suit stands at a podium and speaks, with a Black woman in a white suit to her right, and a white man in a grey suit to her lift. A series of flag poles are visible lined up behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger delivers her inaugural speech as drag laureate flanked by California State Senator Scott Wiener, left, and San Francisco Mayor London Breed. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drag is many things,” said Drollinger before the crowd of assembled dignitaries and members of the local LGBTQ community. “Drag is art. Drag is activism. Drag is joy. Drag is instrumental to bringing people together. Drag is fabulous.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Afterward, Drollinger cheerfully admitted to not feeling quite prepared to meet the demands of her new job. For instance, being on one’s feet at long-winded civic functions isn’t super compatible with the wearing of three-inch stilettos.\u003c/p>\n\u003cp>“I’ll have to rethink my heels,” she said.\u003c/p>\n\u003cp>But the nation’s first ever drag laureate said she’s willing to improvise: “Sometimes you have to lip sync to whatever song gets turned on.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nation%27s+first+%27drag+laureate%27+kicks+off+Pride+in+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay",
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"headTitle": "At SFAC, a Soulful Exploration of James Baldwin’s Legacy in the Bay | KQED",
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"content": "\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \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>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \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>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "The New Southeast Community Center Is Filled With Art and Promise | KQED",
"content": "\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>[aside postid='arts_13903231'] The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='news_11927434'] Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag",
"headTitle": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag | KQED",
"content": "\u003cp>There are fashion queens, sex-positive entertainers and political provocateurs, but few drag performers embody all the dimensions of the artform as seamlessly and with as much panache as \u003ca href=\"https://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a>.\u003c/p>\n\u003cp>A true San Francisco icon, she’s been practicing the art of drag for 30 years, and her impact extends far beyond her glamor. Over the past three decades, she’s raised over $1 million for queer housing and healthcare, campaigned for political causes and thrown too many parties to count. To celebrate, the San Francisco Arts Commission (SFAC) Main Gallery has a new exhibition dedicated to her life and work called \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Juanita: 30 Years of MORE!\u003c/i>\u003c/a>, on view Sept. 30-Nov. 12.\u003c/p>\n\u003cp>“Often we don’t see a lot of exhibitions about key figures in the queer and trans communities while they’re still alive, while they’re still doing the work,” says curator Marcel Pardo Ariza. “It’s important that we find the space to highlight folks who are gathering people together through art, though dancing, through meals together in a way that we find incredibly nurturing.” [aside postid='food_1337260']\u003c/p>\n\u003cp>For the exhibition, MORE! opened her treasure troves of gowns, her personal archives and her art collection, and worked with Pardo Ariza to tell a story—her autobiography, but also a story of queer San Francisco.\u003c/p>\n\u003cp>That story begins on Halloween 1992, when MORE!’s drag mother, Glamamore, dressed her in leopard print and sent her out on the town. That first night in drag, MORE! had such a ball that she wanted to do it again. “I ran around and partied my ass off that first year and just had fun,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She could lip sync and entertain on par with the top divas in the city, and soon, her impact grew beyond the bar and club scene. “Something clicked and I said, ‘Oh, I need to use this energy that’s coming at me and give back for something good,” MORE! says.\u003c/p>\n\u003cp>The AIDS epidemic had ravaged the LGBTQ+ community in the ’80s, and although treatment became available in the ’90s, the deadly crisis persisted. MORE! threw her first benefit for TARC, the \u003ca href=\"https://www.poz.com/article/Tenderloin-HIV-Closes-21753-2492\" target=\"_blank\" rel=\"noopener noreferrer\">Tenderloin AIDS Resource Center\u003c/a>. And in the 30 years since, she has thrown dozens of events that raised funds for organizations such as the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Q Foundation\u003c/a>, which provides housing support for people living with HIV/AIDS; the \u003ca href=\"https://transgenderlawcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender Law Center\u003c/a>, a trans-led legal organization; and \u003ca href=\"https://www.queerlifespace.org/our-mission\" target=\"_blank\" rel=\"noopener noreferrer\">Queer LifeSpace\u003c/a>, an affordable mental health counseling center.\u003c/p>\n\u003cfigure id=\"attachment_13919913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore3-800x533.jpg\" alt=\"Juanita MORE! wears a leopard gown with big shoulders and a blond wig in front of a large, colorful poster with tropical designs and a multicolored, layered silk gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! poses with her San Francisco Pride 2022 poster and Mr. David Couture gown, on display at the SFAC Main Gallery. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glitzy parties—like her annual Pride celebration—are often how MORE! inspires people to give to good causes, but her activism doesn’t stop there. She can be seen rallying for political issues (recently, she spoke out against the recall of progressive District Attorney Chesa Boudin). And her personal website has basically become a one-stop shop for Bay Area residents who want to become more civically engaged. She authors her own \u003ca href=\"https://juanitamore.com/vote\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides\u003c/a> (the 2022 midterm edition is coming soon), rounds up \u003ca href=\"https://juanitamore.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">queer events\u003c/a> and publishes lists of \u003ca href=\"https://juanitamore.com/mentalhealthresources\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ+ mental health resources\u003c/a> and \u003ca href=\"https://juanitamore.com/queer-bizness\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore6-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entryway of ‘Juanita: 30 Years of MORE!’ features dozens of portraits of MORE! from various eras and by different artists. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with MORE!’s hectic schedule of campaigning and entertaining, impeccable attention to detail—from the coif of her wig to the last rhinestone on her heel—has been a defining feature of her brand. Glamamore, known as \u003ca href=\"https://www.instagram.com/mr.davidglamamore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. David\u003c/a> when not in drag, has been MORE!’s \u003ca href=\"https://48hills.org/2016/05/mr-david-gives-us-definitive-sf-style/\" target=\"_blank\" rel=\"noopener noreferrer\">principal fashion designer\u003c/a> for her entire career. She’s never worn anything other than custom garments made specially for her.\u003c/p>\n\u003cp>The sumptuous couture Mr. David created for MORE! over the past 30 years—sometimes on a tight budget, but always with Paris Fashion Week-worthy skill—makes for a mesmerizing display inside the SFAC gallery, which also features event posters, awards, portraits of MORE! and her own original (and often erotic) photography.\u003c/p>\n\u003cfigure id=\"attachment_13919914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore5-800x549.jpg\" alt=\"Colorful hats feature silk bunny ears, turquoise feathers, translucent veils and more.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display of Juanita MORE!’s many hats, designed by Mr. David Couture. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I really enjoy is we can do anything—she can wear anything, she can pull off any look,” Mr. David says at the exhibition preview, standing next to the regal, balloon-sleeved gown, cape and headdress he made for MORE! for SF Pride 2019. He’s made clothing for stars like Cher and Deee-Lite’s Lady Miss Kier, but it’s his collaboration with MORE! that’s been the most rewarding. “It’s this constant challenge. ‘We have $30, let’s make a ball gown.’ It’s not expensive things, but how do we make what we have look very extravagant? It’s enticing, our whole dynamic. I inspire her, she inspires me. We’re on this spiral together.”\u003c/p>\n\u003cp>That collaborative spirit extended to how MORE! approached the exhibition at SFAC. For her and curator Pardo Ariza, preserving history is part of a higher purpose to leave a legacy for the next generation of queer and trans youth, and to pay homage to the intergenerational community of artists who’ve made Juanita MORE! so original.\u003c/p>\n\u003cp>“I think the thing that I love the most is that I’ve never claimed to be the one who created Juanita by myself,” MORE! says. “I was the vehicle that brought it to life. But there were a lot of people collaborating to make this thing that we created as fun or crazy or pretty as possible. … I’m a big champion of artists and have collaborated with so many artists, and that’s just always brought me so much joy.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita: 30 Years of MORE!\u003c/a> \u003cem>is on view in the SFAC Main Gallery in the War Memorial Veterans Building Sept. 30-Nov. 12, with an opening reception on Sept. 30 at 6pm. Events will continue throughout the run of the show, with a \u003ca href=\"https://sfartscommission.org/calendar/more-imposters\" target=\"_blank\" rel=\"noopener noreferrer\">drag performance on Oct. 6\u003c/a>, a \u003ca href=\"https://sfartscommission.org/calendar/naked-dinner-life-drawing-class\" target=\"_blank\" rel=\"noopener noreferrer\">nude figure drawing class on Oct. 12\u003c/a> and \u003ca href=\"https://sfartscommission.org/calendar/juanita-more-birthday-bash\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!’s birthday bash on Oct. 28\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are fashion queens, sex-positive entertainers and political provocateurs, but few drag performers embody all the dimensions of the artform as seamlessly and with as much panache as \u003ca href=\"https://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a>.\u003c/p>\n\u003cp>A true San Francisco icon, she’s been practicing the art of drag for 30 years, and her impact extends far beyond her glamor. Over the past three decades, she’s raised over $1 million for queer housing and healthcare, campaigned for political causes and thrown too many parties to count. To celebrate, the San Francisco Arts Commission (SFAC) Main Gallery has a new exhibition dedicated to her life and work called \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Juanita: 30 Years of MORE!\u003c/i>\u003c/a>, on view Sept. 30-Nov. 12.\u003c/p>\n\u003cp>“Often we don’t see a lot of exhibitions about key figures in the queer and trans communities while they’re still alive, while they’re still doing the work,” says curator Marcel Pardo Ariza. “It’s important that we find the space to highlight folks who are gathering people together through art, though dancing, through meals together in a way that we find incredibly nurturing.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the exhibition, MORE! opened her treasure troves of gowns, her personal archives and her art collection, and worked with Pardo Ariza to tell a story—her autobiography, but also a story of queer San Francisco.\u003c/p>\n\u003cp>That story begins on Halloween 1992, when MORE!’s drag mother, Glamamore, dressed her in leopard print and sent her out on the town. That first night in drag, MORE! had such a ball that she wanted to do it again. “I ran around and partied my ass off that first year and just had fun,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She could lip sync and entertain on par with the top divas in the city, and soon, her impact grew beyond the bar and club scene. “Something clicked and I said, ‘Oh, I need to use this energy that’s coming at me and give back for something good,” MORE! says.\u003c/p>\n\u003cp>The AIDS epidemic had ravaged the LGBTQ+ community in the ’80s, and although treatment became available in the ’90s, the deadly crisis persisted. MORE! threw her first benefit for TARC, the \u003ca href=\"https://www.poz.com/article/Tenderloin-HIV-Closes-21753-2492\" target=\"_blank\" rel=\"noopener noreferrer\">Tenderloin AIDS Resource Center\u003c/a>. And in the 30 years since, she has thrown dozens of events that raised funds for organizations such as the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Q Foundation\u003c/a>, which provides housing support for people living with HIV/AIDS; the \u003ca href=\"https://transgenderlawcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender Law Center\u003c/a>, a trans-led legal organization; and \u003ca href=\"https://www.queerlifespace.org/our-mission\" target=\"_blank\" rel=\"noopener noreferrer\">Queer LifeSpace\u003c/a>, an affordable mental health counseling center.\u003c/p>\n\u003cfigure id=\"attachment_13919913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore3-800x533.jpg\" alt=\"Juanita MORE! wears a leopard gown with big shoulders and a blond wig in front of a large, colorful poster with tropical designs and a multicolored, layered silk gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! poses with her San Francisco Pride 2022 poster and Mr. David Couture gown, on display at the SFAC Main Gallery. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glitzy parties—like her annual Pride celebration—are often how MORE! inspires people to give to good causes, but her activism doesn’t stop there. She can be seen rallying for political issues (recently, she spoke out against the recall of progressive District Attorney Chesa Boudin). And her personal website has basically become a one-stop shop for Bay Area residents who want to become more civically engaged. She authors her own \u003ca href=\"https://juanitamore.com/vote\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides\u003c/a> (the 2022 midterm edition is coming soon), rounds up \u003ca href=\"https://juanitamore.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">queer events\u003c/a> and publishes lists of \u003ca href=\"https://juanitamore.com/mentalhealthresources\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ+ mental health resources\u003c/a> and \u003ca href=\"https://juanitamore.com/queer-bizness\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore6-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entryway of ‘Juanita: 30 Years of MORE!’ features dozens of portraits of MORE! from various eras and by different artists. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with MORE!’s hectic schedule of campaigning and entertaining, impeccable attention to detail—from the coif of her wig to the last rhinestone on her heel—has been a defining feature of her brand. Glamamore, known as \u003ca href=\"https://www.instagram.com/mr.davidglamamore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. David\u003c/a> when not in drag, has been MORE!’s \u003ca href=\"https://48hills.org/2016/05/mr-david-gives-us-definitive-sf-style/\" target=\"_blank\" rel=\"noopener noreferrer\">principal fashion designer\u003c/a> for her entire career. She’s never worn anything other than custom garments made specially for her.\u003c/p>\n\u003cp>The sumptuous couture Mr. David created for MORE! over the past 30 years—sometimes on a tight budget, but always with Paris Fashion Week-worthy skill—makes for a mesmerizing display inside the SFAC gallery, which also features event posters, awards, portraits of MORE! and her own original (and often erotic) photography.\u003c/p>\n\u003cfigure id=\"attachment_13919914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore5-800x549.jpg\" alt=\"Colorful hats feature silk bunny ears, turquoise feathers, translucent veils and more.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display of Juanita MORE!’s many hats, designed by Mr. David Couture. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I really enjoy is we can do anything—she can wear anything, she can pull off any look,” Mr. David says at the exhibition preview, standing next to the regal, balloon-sleeved gown, cape and headdress he made for MORE! for SF Pride 2019. He’s made clothing for stars like Cher and Deee-Lite’s Lady Miss Kier, but it’s his collaboration with MORE! that’s been the most rewarding. “It’s this constant challenge. ‘We have $30, let’s make a ball gown.’ It’s not expensive things, but how do we make what we have look very extravagant? It’s enticing, our whole dynamic. I inspire her, she inspires me. We’re on this spiral together.”\u003c/p>\n\u003cp>That collaborative spirit extended to how MORE! approached the exhibition at SFAC. For her and curator Pardo Ariza, preserving history is part of a higher purpose to leave a legacy for the next generation of queer and trans youth, and to pay homage to the intergenerational community of artists who’ve made Juanita MORE! so original.\u003c/p>\n\u003cp>“I think the thing that I love the most is that I’ve never claimed to be the one who created Juanita by myself,” MORE! says. “I was the vehicle that brought it to life. But there were a lot of people collaborating to make this thing that we created as fun or crazy or pretty as possible. … I’m a big champion of artists and have collaborated with so many artists, and that’s just always brought me so much joy.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita: 30 Years of MORE!\u003c/a> \u003cem>is on view in the SFAC Main Gallery in the War Memorial Veterans Building Sept. 30-Nov. 12, with an opening reception on Sept. 30 at 6pm. Events will continue throughout the run of the show, with a \u003ca href=\"https://sfartscommission.org/calendar/more-imposters\" target=\"_blank\" rel=\"noopener noreferrer\">drag performance on Oct. 6\u003c/a>, a \u003ca href=\"https://sfartscommission.org/calendar/naked-dinner-life-drawing-class\" target=\"_blank\" rel=\"noopener noreferrer\">nude figure drawing class on Oct. 12\u003c/a> and \u003ca href=\"https://sfartscommission.org/calendar/juanita-more-birthday-bash\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!’s birthday bash on Oct. 28\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There's a New Director of Cultural Affairs in San Francisco",
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"content": "\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument",
"headTitle": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument | KQED",
"content": "\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>[aside postID=\"arts_13883431,arts_13870742,news_11794018\" label=\"public art in sf\"]So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CC32JF5B3yJ/\u003c/p>\n\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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},
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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