window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13993615": {
"type": "attachments",
"id": "arts_13993615",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13993615",
"found": true
},
"title": "image001",
"publishDate": 1788481211,
"status": "inherit",
"parent": 13993605,
"modified": 1788481243,
"caption": "A concept rendering by Gensler of the Empress of China building as the future home of the Chinatown Media & Arts Collaborative.",
"credit": "Courtesy of Gensler and Chinatown Media & Arts Collaborative",
"altTag": "1960s tall building with round windows overlooking well-used park plaza",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001-160x89.png",
"width": 160,
"height": 89,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001-768x429.png",
"width": 768,
"height": 429,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001-600x600.png",
"width": 600,
"height": 600,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/image001.png",
"width": 1371,
"height": 766
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13991405": {
"type": "attachments",
"id": "arts_13991405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13991405",
"found": true
},
"title": "260706-StatuesinSFToppled-05-BL",
"publishDate": 1783471288,
"status": "inherit",
"parent": 0,
"modified": 1783484944,
"caption": "Kaleb Duarte's 'Embassy of the Refugee' surrounds the 'Pioneer Monument' in San Francisco's Civic Center on July 6, 2026. The artwork uses scaffolding, plywood, netting and performance to highlight the experiences of undocumented migrants.",
"credit": "Beth LaBerge/KQED",
"altTag": "gold-covered scaffolding behind bronze statue of three miners",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-05-BL.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13988913": {
"type": "attachments",
"id": "arts_13988913",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13988913",
"found": true
},
"title": "Vehicles pass by City Hall in San Francisco on Aug. 8, 2023.",
"publishDate": 1777318354,
"status": "inherit",
"parent": 13988903,
"modified": 1777318383,
"caption": "Vehicles pass by City Hall in San Francisco on Aug. 8, 2023.",
"credit": "Beth LaBerge/KQED",
"altTag": "domed ornate building",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/230808-SanFranciscoCityHall-18-BL_qed.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13986154": {
"type": "attachments",
"id": "arts_13986154",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13986154",
"found": true
},
"title": "RemingtonCOVER",
"publishDate": 1770072725,
"status": "inherit",
"parent": 13986140,
"modified": 1770072757,
"caption": "Director of Cultural Affairs Ralph Remington.",
"credit": "Fred Rowe Foto",
"altTag": "Black man in thick glasses and blue suit jacket",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/RemingtonCOVER-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/RemingtonCOVER-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/RemingtonCOVER-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/RemingtonCOVER-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/RemingtonCOVER-1080x675.jpg",
"width": 1080,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/RemingtonCOVER.jpg",
"width": 1080,
"height": 720
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13986078": {
"type": "attachments",
"id": "arts_13986078",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13986078",
"found": true
},
"title": "MissionCulturalCenterElTec1",
"publishDate": 1769728359,
"status": "inherit",
"parent": 13986059,
"modified": 1769728388,
"caption": "The Mission Cultural Center for the Latino Arts stands closed in San Francisco on Jan. 28, 2026, days after the organization ran out of operating funds and shuttered its doors indefinitely.",
"credit": "Pablo Unzueta for El Tecolote/CatchLight Local",
"altTag": "building facade with colorful mural",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MissionCulturalCenterElTec1-160x106.jpg",
"width": 160,
"height": 106,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MissionCulturalCenterElTec1-768x511.jpg",
"width": 768,
"height": 511,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MissionCulturalCenterElTec1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MissionCulturalCenterElTec1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MissionCulturalCenterElTec1-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MissionCulturalCenterElTec1.jpg",
"width": 1500,
"height": 998
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13982187": {
"type": "attachments",
"id": "arts_13982187",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13982187",
"found": true
},
"title": "19x16_2000",
"publishDate": 1759871117,
"status": "inherit",
"parent": 13982175,
"modified": 1759872695,
"caption": "Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation's Big Art Loop, 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.",
"credit": "Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss",
"altTag": "collage of sculptures superimposed over city skyline",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/19x16_2000-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/19x16_2000-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/19x16_2000-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/19x16_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/19x16_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/19x16_2000.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13930405": {
"type": "attachments",
"id": "arts_13930405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13930405",
"found": true
},
"parent": 13930404,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-160x125.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 125
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813.jpe",
"width": 1920,
"height": 1502
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-2048x1602.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1602
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-1020x798.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 798
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-1536x1202.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1202
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-1920x1502.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1502
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-800x626.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 626
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8197_custom-014e72b5287e950b26a79c9a43ee781ffa7baa67-scaled-e1686590618813-768x601.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 601
}
},
"publishDate": 1686590100,
"modified": 1686590749,
"caption": "D'Arcy Drollinger, the country's first drag laureate, poses with the Pride flag outside San Francisco City Hall on June 2, 2023.",
"description": null,
"title": "D'Arcy Drollinger, the country's first drag laureate, poses with the Pride flag outside San Francisco City Hall on June 2, 2023.",
"credit": "Chloe Veltman/ NPR",
"status": "inherit",
"altTag": "A drag performer wearing long blond wig and a skin tight pink and white dress and suit jacket stands on a balcony overlooking San Francisco Civic Center. She is standing next to a rainbow flag.",
"isLoading": false,
"fetchFailed": false
},
"arts_13929662": {
"type": "attachments",
"id": "arts_13929662",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13929662",
"found": true
},
"parent": 13929636,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-160x107.png",
"width": 160,
"mimeType": "image/png",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280.png",
"width": 1921,
"height": 1281
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-1020x680.png",
"width": 1020,
"mimeType": "image/png",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-1536x1024.png",
"width": 1536,
"mimeType": "image/png",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-800x533.png",
"width": 800,
"mimeType": "image/png",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/IBS-Graphic-No-Text_1920x1280-768x512.png",
"width": 768,
"mimeType": "image/png",
"height": 512
}
},
"publishDate": 1684974232,
"modified": 1684974343,
"caption": "'Invincible Black Soul: The Art of Bearing Witness,' inspired by the work of James Baldwin, is on view at the San Francisco Arts Commission through July 8. ",
"description": null,
"title": "IBS Graphic No Text_1920x1280",
"credit": "courtesy of SF Art Commission",
"status": "inherit",
"altTag": "a black and white photo of James Baldwin, a Black writer and activit, against a black and yellow graphic",
"isLoading": false,
"fetchFailed": false
},
"arts_13920947": {
"type": "attachments",
"id": "arts_13920947",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920947",
"found": true
},
"parent": 13920940,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_MHoward_0256_COVER-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1666830491,
"modified": 1666831004,
"caption": "The new Southeast Community Center celebrated its grand opening on Oct. 22, 2022.",
"description": null,
"title": "SFAC_SECC_MHoward_0256_COVER",
"credit": "Ethan Kaplan Photography",
"status": "inherit",
"altTag": "View of building exterior with tall shaded awning and three-part bronze sculpture in foreground with plantings",
"isLoading": false,
"fetchFailed": false
},
"arts_13919910": {
"type": "attachments",
"id": "arts_13919910",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13919910",
"found": true
},
"parent": 13919897,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-160x114.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 114
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1.jpg",
"width": 1920,
"height": 1370
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-1020x728.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 728
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-1536x1096.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1096
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-800x571.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 571
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore1-768x548.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 548
}
},
"publishDate": 1664561413,
"modified": 1664576589,
"caption": "'Juanita: 30 Years of MORE!' at SFAC celebrates Juanita MORE!'s (center) career in drag, philanthropy and activism. The show was curated by Marcel Pardo Ariza (right) and features custom couture designed by Juanita MORE!'s drag mother and friend, Mr. David Glamamore (left). ",
"description": null,
"title": "juanitamore1",
"credit": "Nastia Voynovskaya/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13889003": {
"type": "attachments",
"id": "arts_13889003",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13889003",
"found": true
},
"parent": 13889000,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/11/Ralph-Remington-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1604696725,
"modified": 1604696776,
"caption": "Ralph Remington will head the San Francisco Arts Commission starting in January 2021.",
"description": "Ralph Remington will head the San Francisco Arts Commission starting in January 2021.",
"title": "Ralph-Remington",
"credit": "Aminda Villa",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13870771": {
"type": "attachments",
"id": "arts_13870771",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13870771",
"found": true
},
"parent": 13870742,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg",
"width": 1200,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1575405087,
"modified": 1596509962,
"caption": "Lava Thomas speaks at the Oct. 16, 2019 arts commission meeting about her disappointment in the process.",
"description": "Lava Thomas speaks at the Oct. 16, 2019 arts commission meeting about her disappointment in the process.",
"title": "Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200",
"credit": "Chloe Veltman/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13930404": {
"type": "authors",
"id": "byline_arts_13930404",
"meta": {
"override": true
},
"slug": "byline_arts_13930404",
"name": "Chloe Veltman",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"aproehl": {
"type": "authors",
"id": "11296",
"meta": {
"index": "authors_1716337520",
"id": "11296",
"found": true
},
"name": "Ariana Proehl",
"firstName": "Ariana",
"lastName": "Proehl",
"slug": "aproehl",
"email": "aproehl@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Culture Reporter, KQED",
"bio": "Ariana Proehl is a Culture Reporter and Host.",
"avatar": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twitter": "ArianaProehl",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "education",
"roles": []
},
{
"site": "forum",
"roles": []
}
],
"headData": {
"title": "Ariana Proehl | KQED",
"description": "Culture Reporter, KQED",
"ogImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aproehl"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
}
},
"pagesReducer": {
"arts_tag_san-francisco-arts-commission": {
"type": "terms",
"id": "arts_1300",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1300",
"score": 10.405918
},
"featImg": null,
"name": "San Francisco Arts Commission",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Arts Commission Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1312,
"slug": "san-francisco-arts-commission",
"isLoading": false,
"title": "San Francisco Arts Commission",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=san-francisco-arts-commission",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13993605": {
"type": "posts",
"id": "arts_13993605",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13993605",
"score": null,
"sort": [
1788481864000
]
},
"guestAuthors": [],
"slug": "day-of-public-art-san-francisco-chinatown-ccc-cmac-sfac",
"title": "A Celebration of the All the Art Coming to SF’s Chinatown",
"publishDate": 1788481864,
"format": "standard",
"headTitle": "A Celebration of the All the Art Coming to SF’s Chinatown | KQED",
"labelTerm": {},
"content": "\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n\n\n\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n\n\n\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1246\" height=\"798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png\" alt=\"square building on corner with colorful mural at street level\" class=\"wp-image-13993608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-768x492.png 768w\" sizes=\"auto, (max-width: 1246px) 100vw, 1246px\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of the renovated Chinatown Community Health Center with a mural by Twin Walls Mural Company on its corner. (San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n\n\n\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n\n\n\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1125\" height=\"2000\" data-id=\"13993610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg\" alt=\"hand holding a red-sewn thread with a TH at the center\" class=\"wp-image-13993610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-864x1536.jpg 864w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\" />\u003cfigcaption class=\"wp-element-caption\">A commemorative patch for the ‘Threaded Histories’ project, to be given away at Chinatown-Rose Pak Station on Sept. 12. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1126\" height=\"2000\" data-id=\"13993611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg\" alt=\"woman leans over sewing table working on large-scale design\" class=\"wp-image-13993611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg 1126w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-768x1364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-865x1536.jpg 865w\" sizes=\"auto, (max-width: 1126px) 100vw, 1126px\" />\u003cfigcaption class=\"wp-element-caption\">Ariana Martinez-Cruz works in her studio on the temporary monument ‘Threaded Histories.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n\n\n\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program. (Courtesy of the David Leong Family Collection)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Permanent, full access to all of Chinatown’s public and community spaces may be months (or years) away, but events like this prove there are still plenty of ways to fill the streets with art. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n",
"innerContent": [
"\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13993608,
"sizeSlug": "full",
"linkDestination": "none",
"align": "center",
"alt": "square building on corner with colorful mural at street level",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-768x492.png 768w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png\" alt=\"square building on corner with colorful mural at street level\" class=\"wp-image-13993608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-768x492.png 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">A rendering of the renovated Chinatown Community Health Center with a mural by Twin Walls Mural Company on its corner.\u003ccite class=\"wp-inline-image-credit\"> (San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png\" alt=\"square building on corner with colorful mural at street level\" class=\"wp-image-13993608\"/>\u003cfigcaption class=\"wp-element-caption\">A rendering of the renovated Chinatown Community Health Center with a mural by Twin Walls Mural Company on its corner.\u003ccite class=\"wp-inline-image-credit\"> (San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n",
"innerContent": [
"\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n",
"innerContent": [
"\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/gallery",
"attrs": {
"linkTo": "none",
"images": [],
"ids": [],
"shortCodeTransforms": [],
"imageCrop": true,
"randomOrder": false,
"fixedHeight": true,
"sizeSlug": "large",
"allowResize": false,
"aspectRatio": "auto"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped\">\n\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped\">",
null,
"\n\n",
null,
"\u003c/figure>\n"
],
"innerBlocks": [
{
"blockName": "core/image",
"attrs": {
"id": 13993610,
"sizeSlug": "large",
"linkDestination": "none",
"alt": ""
},
"innerBlocks": [],
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg\" alt=\"hand holding a red-sewn thread with a TH at the center\" class=\"wp-image-13993610\"/>\u003cfigcaption class=\"wp-element-caption\">A commemorative patch for the ‘Threaded Histories’ project, to be given away at Chinatown-Rose Pak Station on Sept. 12.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg\" alt=\"hand holding a red-sewn thread with a TH at the center\" class=\"wp-image-13993610\"/>\u003cfigcaption class=\"wp-element-caption\">A commemorative patch for the ‘Threaded Histories’ project, to be given away at Chinatown-Rose Pak Station on Sept. 12.\u003c/figcaption>\u003c/figure>\n"
]
},
{
"blockName": "core/image",
"attrs": {
"id": 13993611,
"sizeSlug": "large",
"linkDestination": "none",
"alt": ""
},
"innerBlocks": [],
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg\" alt=\"woman leans over sewing table working on large-scale design\" class=\"wp-image-13993611\"/>\u003cfigcaption class=\"wp-element-caption\">Ariana Martinez-Cruz works in her studio on the temporary monument ‘Threaded Histories.’\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg\" alt=\"woman leans over sewing table working on large-scale design\" class=\"wp-image-13993611\"/>\u003cfigcaption class=\"wp-element-caption\">Ariana Martinez-Cruz works in her studio on the temporary monument ‘Threaded Histories.’\u003c/figcaption>\u003c/figure>\n"
]
}
]
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n",
"innerContent": [
"\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13993609,
"sizeSlug": "full",
"linkDestination": "none",
"align": "center",
"alt": "photograph of Asian family eating around circular table in banquet hall",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the David Leong Family Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\"/>\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy of the David Leong Family Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Permanent, full access to all of Chinatown’s public and community spaces may be months (or years) away, but events like this prove there are still plenty of ways to fill the streets with art. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Permanent, full access to all of Chinatown’s public and community spaces may be months (or years) away, but events like this prove there are still plenty of ways to fill the streets with art. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": {
"opacity": "alpha-channel",
"tagName": "hr"
},
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "The Empress of China building reopens for the first time since 2016 in a daylong, neighborhood art walk. ",
"status": "publish",
"parent": 0,
"modified": 1788481873,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 731
},
"headData": {
"title": "A Celebration of the All the Art Coming to SF’s Chinatown | KQED",
"description": "The Empress of China building reopens for the first time since 2016 in a daylong, neighborhood art walk. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Celebration of the All the Art Coming to SF’s Chinatown",
"datePublished": "2026-09-03T17:31:04-07:00",
"dateModified": "2026-09-03T17:31:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13993605",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13993605/day-of-public-art-san-francisco-chinatown-ccc-cmac-sfac",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://sfpublicworks.org/portsmouthsquare\">Portsmouth Square\u003c/a>, the park known as Chinatown’s living room, isn’t looking very welcoming these days. The iconic \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">pedestrian bridge\u003c/a> that once stretched across Kearny Street from the Hilton is gone. So is the park’s playground, its trees and benches. Fenced in and under construction, the square won’t reopen until 2028.\u003c/p>\n\n\n\n\u003cp>It’s not the only site in the neighborhood where work crews now outnumber residents. The Chinatown public library, a 1921 Carnegie building, will soon close for a planned \u003ca href=\"https://sfpl.org/about-us/capital-projects-building-you/library-improvements-tomorrow/chinatown-him-mark-lai\">30-month renovation\u003c/a>. And \u003ca href=\"https://sfpublicworks.org/Chinatown-Public-Health-Center\">seismic upgrades\u003c/a> to the Chinatown Public Health Center are already underway. What tempers all this disruption is the knowledge that when each of these sites reopens (better, safer), it will be graced by new public art from a lineup of talented local artists.\u003c/p>\n\n\n\n\u003cp>In Portsmouth Square, that includes an entryway sculpture by \u003ca href=\"https://cathyclu.com/\">Cathy Lu\u003c/a> and a tile wall from \u003ca href=\"https://wofflehouse.com/\">Jenifer K. Wofford\u003c/a>. At the public health center, a mural by Elaine Chu and Marina Perez-Wong (aka \u003ca href=\"https://www.twinwallsmuralcompany.com/\">Twin Walls Mural Company\u003c/a>) will wrap around an exterior corner; another mural by \u003ca href=\"https://www.instagram.com/vida.kuang/\">Vida Kuang\u003c/a> will enliven a waiting room. And \u003ca href=\"https://www.christinewongyap.com/\">Christine Wong Yap\u003c/a> is creating images for a series of archways in the library’s grand reading room.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1246\" height=\"798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png\" alt=\"square building on corner with colorful mural at street level\" class=\"wp-image-13993608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co.png 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Health-Center-Twin-Walls-Mural-Co-768x492.png 768w\" sizes=\"auto, (max-width: 1246px) 100vw, 1246px\" />\u003cfigcaption class=\"wp-element-caption\">A rendering of the renovated Chinatown Community Health Center with a mural by Twin Walls Mural Company on its corner. (San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Good news all around, but that would usually be that. We’d have to wait for years to mark the reopenings, glimpse the public artworks, and hear from the artists involved. Instead, on Saturday, Sept. 12, these artists will be present for a meet-and-greet event at the Grant Avenue storefront of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC).\u003c/p>\n\n\n\n\u003cp>It’s one stop on what the San Francisco Arts Commission, CCC and \u003ca href=\"https://www.cmacsanfrancisco.org/\">Chinatown Media & Arts Collaborative\u003c/a> (CMAC) are calling “\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a>,” a mini-tour of artists and artworks across three neighborhood venues. \u003c/p>\n\n\n\n\u003cp>The day starts at 11 a.m. at Chinatown-Rose Pak Station, where New York-based artist Tomie Arai will lead visitors on a tour of her monumental glass exterior and downstairs platform installation. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1125\" height=\"2000\" data-id=\"13993610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg\" alt=\"hand holding a red-sewn thread with a TH at the center\" class=\"wp-image-13993610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-768x1365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000-864x1536.jpg 864w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\" />\u003cfigcaption class=\"wp-element-caption\">A commemorative patch for the ‘Threaded Histories’ project, to be given away at Chinatown-Rose Pak Station on Sept. 12. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1126\" height=\"2000\" data-id=\"13993611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg\" alt=\"woman leans over sewing table working on large-scale design\" class=\"wp-image-13993611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b.jpg 1126w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-160x284.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-768x1364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/TH_2000b-865x1536.jpg 865w\" sizes=\"auto, (max-width: 1126px) 100vw, 1126px\" />\u003cfigcaption class=\"wp-element-caption\">Ariana Martinez-Cruz works in her studio on the temporary monument ‘Threaded Histories.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\n\n\n\u003cp>Then, at the station’s entrance at noon, \u003ca href=\"https://sewfrisco.wixsite.com/sfbio/threadedhistories\">Ariana Martinez-Cruz\u003c/a> will unveil a large-scale temporary monument to the city’s Latino and Chinese garment workers. As one of the SFAC’s \u003ca href=\"https://www.kqed.org/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac\">Shaping Legacy\u003c/a> artists, Martinez-Cruz has been conducting workshops and gathering stories for months, all while fabricating an impressive sculpture out of metal, cloth and thread. (A commemorative patch and tote bag giveaway will take place 1–4 p.m.)\u003c/p>\n\n\n\n\u003cp>The third stop may be the most exciting: The historic Empress of China building, \u003ca href=\"https://www.cmacsanfrancisco.org/empress-of-china\">recently purchased by CMAC\u003c/a> as a future cultural campus, will open its doors to the public for the first time since it shuttered in 2016. A community open house curated by \u003ca href=\"https://www.summerleeart.com/\">Summer Mei Ling Lee\u003c/a> returns to the idea of “Chinatown’s living room.” With Portsmouth Square closed, Lee has organized the building’s first floor into a series of intimate spaces where artists, historians, performers and other nonprofits can hold court. While the building will be open 11 a.m.–4 p.m., a ceremony and performances begin at 1 p.m.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg\" alt=\"photograph of Asian family eating around circular table in banquet hall\" class=\"wp-image-13993609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/10-David_Leong_Family_Collection_Banquetstill_2000-1536x998.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Still from Center for Asian American Media’s Memories to Light program. (Courtesy of the David Leong Family Collection)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Lee’s program includes plenty of hands-on and celebratory elements, including crowd-sourced images from decades of family celebrations at the Empress of China banquet hall, a shadow puppet show from \u003ca href=\"https://www.shadowlight.org/\">ShadowLight Productions\u003c/a> and a human embodiment of “The Empress” by Maggie Wong. Also, the \u003ca href=\"https://www.grantavenuefollies.org/\">Grant Avenue Follies\u003c/a>.\u003c/p>\n\n\n\n\u003cp>Permanent, full access to all of Chinatown’s public and community spaces may be months (or years) away, but events like this prove there are still plenty of ways to fill the streets with art. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>\u003ca href=\"https://www.sf.gov/event-a-day-of-public-art-in-chinatown\">A Day of Public Art in Chinatown\u003c/a> takes place Sept. 12, 2026, 11 a.m.–4 p.m. at the Chinatown-Rose Pak Station (934 Stockton St.), CCC Art Center & Design Store (667 Grant Ave.) and Empress of China (838 Grant Ave.).\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13993605/day-of-public-art-san-francisco-chinatown-ccc-cmac-sfac",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313",
"arts_70"
],
"tags": [
"arts_2654",
"arts_3835",
"arts_10278",
"arts_2628",
"arts_1300",
"arts_585"
],
"featImg": "arts_13993615",
"label": "source_arts_13993605"
},
"arts_13991360": {
"type": "posts",
"id": "arts_13991360",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13991360",
"score": null,
"sort": [
1783515600000
]
},
"guestAuthors": [],
"slug": "new-monuments-san-francisco-shaping-legacy-sfac",
"title": "In San Francisco, a Reckoning With Toppled Statues Gives Rise to New Monuments",
"publishDate": 1783515600,
"format": "standard",
"headTitle": "In San Francisco, a Reckoning With Toppled Statues Gives Rise to New Monuments | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In the weeks of protests following the murder of George Floyd, monuments across the country became the focus of intense, righteous energy. For too long, the demonstrators argued, these representations of oppression and violence — sometimes, of outright sedition — had presided over public spaces, warping our understanding of America’s past.\u003c/p>\n\n\n\n\u003cp>In some instances, the statues had been the subject of years of organizing and petitions for removal, to no avail. So in 2020, people \u003ca href=\"https://www.kqed.org/news/11824381/historical-figures-reassessed-after-george-floyds-death\">took matters into their own hands\u003c/a>, either tagging the monuments’ pedestals, pouring red paint on them or toppling the statues altogether. \u003c/p>\n\n\n\n\n\n\u003cp>It was these actions — and the physical danger to those doing the toppling — that led the San Francisco Arts Commission (SFAC) to preemptively remove the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\">Christopher Columbus statue\u003c/a> from the base of Coit Tower on June 18, 2020. The following day, \u003ca href=\"https://www.kqed.org/news/11826151/how-do-we-heal-toppling-the-myth-of-junipero-serra\">protesters pulled down three statues\u003c/a> in Golden Gate Park’s Music Concourse: monuments to Francis Scott Key, Junípero Serra and Ulysses S. Grant.\u003c/p>\n\n\n\n\u003cp>While the plinths have stood empty, the SFAC has engaged in an unprecedented effort to truly reckon with the city’s monuments. Over the past six years, the agency has deeply researched all 105 monuments in San Francisco’s Civic Art Collection, holding community meetings and soliciting feedback. In 2025, the SFAC released a \u003ca href=\"https://media.api.sf.gov/documents/SL_Audit_Final_Report_Tear_Sheets_Web_05052025.pdf\">521-page audit report\u003c/a>.\u003cbr>\u003cbr>Now, as its final act, the \u003ca href=\"https://www.sf.gov/shaping-legacy\">Shaping Legacy project\u003c/a> has commissioned five artists and collaboratives to create temporary monuments to subjects of their choice.\u003c/p>\n\n\n\n\u003cp>Instead of nativist leaders or military victories, these artworks celebrate refugees, paleteros, garment and shipyard workers, and families of the Great Migration. Currently playing out as installations and events, and spreading from Civic Center to Hunters Point, these pieces of public art challenge the very notion of what San Francisco’s future monuments can be. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1176\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg\" alt=\"man wraps metal scaffolding in gold mylar, group poses on scaffolding\" class=\"wp-image-13991396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2000x919.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-1536x706.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2048x941.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-element-caption\">A team of artist ambassadors works on ‘Embassy of the Refugee’ in San Francisco’s Fulton Plaza. (Courtesy of Kaleb Duarte)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A monument to invisible labor\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The Civic Center is home to nearly a quarter of the city’s monuments, the most prominent of which sits between the main library and the Asian Art Museum. Created in 1894 by sculptor Frank Happersberger, the \u003cem>Pioneer Monument\u003c/em> tells a selective and glorified story of California’s founding, illustrated by the white Americans (plus a few Spanish and Mexican leaders) who conquered the land and its Indigenous people. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For decades, Native American activists called for the removal of one especially offensive component of the monument. \u003cem>Early Days\u003c/em> depicted Junípero Serra “converting” a supine Indigenous man (depicted as a Plains Indian). A triumphant vaquero stood by with his arm raised.\u003cem> \u003c/em>\u003c/p>\n\n\n\n\u003cp>In 2018, after successful lobbying, \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">\u003cem>Early Days\u003c/em> was removed\u003c/a>. Even so, according to a 2023 community survey by the Monuments and Memorials Advisory Committee (MMAC, a precursor to the Shaping Legacy project), the \u003cem>Pioneer Monument\u003c/em> remains one of the city’s least-liked monuments.\u003c/p>\n\n\n\n\u003cp>The site’s contentious history provides a rare opportunity for an artist to confront such historical symbols of power. And \u003ca href=\"https://www.calebduarte.org/\">Kaleb Duarte\u003c/a> is up to the task.\u003c/p>\n\n\n\n\u003cp>Currently, a delicate scaffolding and scrim sits around the center of the \u003cem>Pioneer Monument\u003c/em>, obscuring the view of its bronze reliefs. Since early June, Duarte and a team of “artist ambassadors” have been working on site, covering the metal poles of the scaffolding with strips of gold mylar. They are, in effect, gilding the structure. The piece, titled \u003cem>Embassy of the Refuge\u003c/em>e, is part of an ongoing series.\u003c/p>\n\n\n\n\u003cp>“The scaffold is an ugly thing that you try to not look at when you’re looking at architecture,” Duarte says on a windy farmers market day, “but I think it represents the worker and the forgotten.” Duarte’s collaborators are from Guatemala, Honduras, El Salvador and Mexico; the participants have been in the United States anywhere from two to 15 years. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg\" alt=\"two people stand on scaffolding beside bronze statue\" class=\"wp-image-13991394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Artist ambassadors work on ‘Embassy of the Refugee’ in Fulton Plaza. (Courtesy of Kaleb Duarte)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In outdoor workshops, the group has discussed memories of home next to the installation, recording these histories as a way of documenting the Bay Area’s larger immigrant and refugee networks. The gold mylar, which flutters in the plaza’s always-present breeze, references the emergency blankets used at detention centers. Turning “a symbol of potential trauma into something beautiful,” as Duarte says, is one of the piece’s many acts of transformation.\u003c/p>\n\n\n\n\u003cp>In keeping with the idea of a living, active monument, \u003cem>Embassy of the Refugee\u003c/em> will host performances on July 25 by Guatemala-based artists Regina José Galindo and Marilyn Boror Bor (Maya-Kaqchikel), along with Duarte’s frequent collaborator Mia Eve Rollow.\u003c/p>\n\n\n\n\u003cp>Within the scaffolding, a ghostly mesh tent echoes both refugee tents and the pediment of City Hall. “The idea of home and house is carried by the body and by memory, not by architecture,” Duarte says, gesturing at the \u003cem>Pioneer Monument\u003c/em>. “Memory is always in movement, rather than these solid structures that force us to remember certain things. They don’t really engage us.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘More work to be done’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>By design, most monuments are built to withstand the ravages of time, even as the world shifts radically around them. It takes events like the 2020 topplings to shift a city’s inertia into action. \u003c/p>\n\n\n\n\u003cp>Shortly after the removal of the Golden Gate Park statues, Mayor London Breed called on the SFAC and other city agencies to change the guidelines around monuments “to reflect the values of the city.” In May 2023, the MMAC’s \u003ca href=\"https://media.api.sf.gov/documents/SF_MMAC_Final_Report_2023.pdf\">final report\u003c/a> made recommendations for evaluating the collection further, while noting, hopefully, that “this is the beginning phase of a larger process; there is more work to be done.”\u003c/p>\n\n\n\n\u003cp>“The city loves reports,” says Angela Carrier, Shaping Legacy’s senior project manager. Normally, she explains, that MMAC report might have just sat there, inert. But a $3 million \u003ca href=\"https://www.mellon.org/news/monuments-project-giving-exceeds-150-million\">Mellon Foundation grant\u003c/a> meant the city could actually implement some of the MMAC recommendations. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg\" alt=\"gold covered metal posts of scaffolding in front of a stone plinth\" class=\"wp-image-13991401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘Embassy of the Refugee’ sits around the ‘Pioneer Monument,’ created in 1894 by sculptor Frank Happersberger and funded by James Lick. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Shaping Legacy’s first step was to truly audit the San Francisco’s 105 monuments: what do they commemorate, who paid for their construction, what was the context of their creation? “‘We don’t know what we don’t know,’ is what my colleague Allison Cummings says often,” Carrier says.\u003c/p>\n\n\n\n\u003cp>The audit found that 41 of the city’s monuments pre-dated the SFAC, which was established by city charter in 1932. Another 46 entered the Civic Art Collection as gifts from wealthy donors or organized civic groups. Only 18 monuments were explicitly commissioned or acquired by the city. A whopping 77% of the city’s monuments were made by male artists.\u003c/p>\n\n\n\n\u003cp>Then, the work shifted to the present: “Who’s here now? What’s our new understanding of these monuments and the power and public memory at play?” Carrier says. Partnering with the community organizations Gray Area, 500 Capp Street, the Samoan Community Development Center and the Tenderloin Museum, Shaping Legacy funded artist-led film screenings, walking tours, discussions and performances across the city. \u003c/p>\n\n\n\n\u003cp>This year, further collaborations with SOMA Pilipinas, the California Migration Museum and Shaping San Francisco have addressed some of the city’s most contentious sites: the Dewey Monument in Union Square, the now-empty plinth of Christopher Columbus, and the trio of sculptures toppled in Golden Gate Park.\u003c/p>\n\n\n\n\u003cp>Ultimately, the SFAC will make recommendations about the future of these sites, and how the city should consider the removal, relocation or destruction of monuments moving forward. One of the crucial findings from the Shaping Legacy audit is that the public is far more interested in the creation of new work than the removal of existing statues. \u003c/p>\n\n\n\n\u003cp>“New monuments have the opportunity to tell the complete story of San Francisco by memorializing stories previously untold and marginalized,” the report states. “New monuments can also be an opportunity for community empowerment, celebration and joy.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg\" alt=\"man in glasses on stool in painting studio with artworks behind him\" class=\"wp-image-13991399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Adrián Arias sits in his studio in Oakland on July 7, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Memorializing the everyday\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>It’s difficult to find something more joyful than \u003ca href=\"https://adrianarias.com/\">Adrián Arias\u003c/a>’ enthusiasm for paletas. The Shaping Legacy grantee has built a roving, multifaceted homage to the paleteros and paleteras who trace a “sweet route” through the Mission District.\u003c/p>\n\n\n\n\u003cp>\u003cem>A Sweet Route\u003c/em> kicked off during Carnaval with a small army of paleteros handing out free treats, as they rolled down the parade route. At their center was Arias’ sculpture of eight-foot-tall vibrantly painted paleta. “It was a very happy moment for everybody,” he says. “And a very special recognition for immigrant workers.”\u003c/p>\n\n\n\n\u003cp>The celebrations continued on June 20 with a music- and dance-fueled walk from the 24th Street BART Plaza to Parque Niños Unidos, where the Oakland band LoCura and Anaís Azul performed the specially commissioned (and very catchy) song “\u003ca href=\"https://locuramusica.bandcamp.com/track/paleter\">Paleter@\u003c/a>.” A painted wooden monument to two local paleteros now stands in the park, watching over playing children. On Aug. 2, the project will move, with equal fanfare, to Potrero del Sol.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg\" alt=\"\" class=\"wp-image-13991397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2000x885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-1536x679.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2048x906.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-element-caption\">Left: Artist Adrián Arias works on a ‘A Sweet Route: Tribute to Paleteros.’ Right: ‘A Sweet Route’ at the Carnaval parade in San Francisco on May 24, 2026. (Courtesy of Adrián Arias)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Arias is brimming with ideas for even more temporary monuments, particularly for the Mission, which has no permanent city monuments. “I really like the idea of the ephemeral thing that is a temporary monument moving around,” Arias says. He believes ardently in “recognizing our own heroes in our own neighborhoods.”\u003c/p>\n\n\n\n\u003cp>A hallmark of the five Shaping Legacy artists is a drive toward dispersal — to share their own enthusiasm for their chosen subject with as many members of the public and in as many formats as possible. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.instagram.com/sew_frisco/\">Ariana Martinez-Cruz\u003c/a> is currently hard at work on \u003cem>Threaded Histories\u003c/em>, a monument to San Francisco’s garment workers, which will connect the city’s Latino and Chinese immigrant communities through a July 11 mending workshop, a Chinatown-Rose Pak Station information kiosk, a large-scale textile sculpture and the distribution of custom-made patches (among other manifestations).\u003c/p>\n\n\n\n\u003cp>For Martinez-Cruz, a big part of her work is empowering others to see the monumental in their own ordinary actions. \u003c/p>\n\n\n\n\u003cp>“When I do community workshops, at least three if not more people will come to me and say ‘I remember when my mom sewed like this,’” she says. “And then I’m listening to their stories of their loved things that were mended or made for a special occasion. It’s helping people connect to what they didn’t realize was living history in front of them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg\" alt=\"brightly painted wooden monument in park with playground behind\" class=\"wp-image-13991403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Adrián Arias’ ‘A Sweet Route: Tribute to Paleteros’ at Parque Niños Unidos in the Mission District of San Francisco on July 6, 2026, honors and celebrates immigrant ice cream vendors. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Monuments to the future\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The many aspects of the Shaping Legacy commissions fill a timeline that stretches well into October, including forthcoming temporary monuments by \u003ca href=\"https://afatasi.com/\">Afatasi the Artist\u003c/a> and \u003ca href=\"http://www.staceycarter.net/home.html\">Stacey Carter\u003c/a> and a team of collaborators, both in Bayview-Hunters Point. \u003c/p>\n\n\n\n\u003cp>The grant period comes to a close at the end of 2026. Carrier says the project aims to leave the city with real recommendations about the future of its monuments, especially the ones that have been removed from view in recent years. \u003c/p>\n\n\n\n\u003cp>There will be no one-size-fits-all solution, she emphasizes. But so far, public feedback and the current commissions make a very good case for the power of adding even temporary artwork to the city’s so-called “commemorative landscape.” \u003c/p>\n\n\n\n\u003cp>It may take another infusion of non-taxpayer money like the Mellon grant, however, for Shaping Legacy’s final recommendations to be turned into action. The SFAC has limited staffing and funding to continue commissioning temporary artworks.\u003c/p>\n\n\n\n\u003cp>Meanwhile, the desire for more monuments to everyday life and ordinary people is palpable. Arias recalls, “Installing the other day at Parque Niños Unidos, a group of nannies came to me and said, ‘Where will be the monument for nannies?’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>For the most up-to-date list of Shaping Legacy artworks and events, \u003c/em>\u003ca href=\"https://www.sf.gov/shaping-legacy\">\u003cem>click here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Upcoming events include Ariana Martinez-Cruz’s ‘Threaded Histories’ Community Mending Circle at Cultura y Arte Nativa de las Americas (683 Florida St., San Francisco), on July 11, 12–4 p.m. and a ‘Threaded Histories’ Monument patch distribution and celebration at CANA on July 25, 12–4 p.m.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Kaleb Duarte’s ‘Embassy of the Refugee’ will host performances on July 25 at Fulton Plaza. \u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Adrián Arias’ ‘A Sweet Route’ will be on view at Parque Niños Unidos (23rd and Treat Streets) through July 20 and will move to Potrero del Sol (Potrero Avenue and 25th Street) for a celebration on Aug. 2.\u003c/em>\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Stacey Carter’s ‘CRANE project’ will illuminate the Hunters Point Shipyard Gantry Crane Oct. 9–11 and 16–18.\u003c/em>\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In the weeks of protests following the murder of George Floyd, monuments across the country became the focus of intense, righteous energy. For too long, the demonstrators argued, these representations of oppression and violence — sometimes, of outright sedition — had presided over public spaces, warping our understanding of America’s past.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In the weeks of protests following the murder of George Floyd, monuments across the country became the focus of intense, righteous energy. For too long, the demonstrators argued, these representations of oppression and violence — sometimes, of outright sedition — had presided over public spaces, warping our understanding of America’s past.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In some instances, the statues had been the subject of years of organizing and petitions for removal, to no avail. So in 2020, people \u003ca href=\"https://www.kqed.org/news/11824381/historical-figures-reassessed-after-george-floyds-death\">took matters into their own hands\u003c/a>, either tagging the monuments’ pedestals, pouring red paint on them or toppling the statues altogether. \u003c/p>\n",
"innerContent": [
"\n\u003cp>In some instances, the statues had been the subject of years of organizing and petitions for removal, to no avail. So in 2020, people \u003ca href=\"https://www.kqed.org/news/11824381/historical-figures-reassessed-after-george-floyds-death\">took matters into their own hands\u003c/a>, either tagging the monuments’ pedestals, pouring red paint on them or toppling the statues altogether. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed-v2/related-articles",
"attrs": {
"postIds": [
"news_11825103"
],
"labelWasCleared": true
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>It was these actions — and the physical danger to those doing the toppling — that led the San Francisco Arts Commission (SFAC) to preemptively remove the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\">Christopher Columbus statue\u003c/a> from the base of Coit Tower on June 18, 2020. The following day, \u003ca href=\"https://www.kqed.org/news/11826151/how-do-we-heal-toppling-the-myth-of-junipero-serra\">protesters pulled down three statues\u003c/a> in Golden Gate Park’s Music Concourse: monuments to Francis Scott Key, Junípero Serra and Ulysses S. Grant.\u003c/p>\n",
"innerContent": [
"\n\u003cp>It was these actions — and the physical danger to those doing the toppling — that led the San Francisco Arts Commission (SFAC) to preemptively remove the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\">Christopher Columbus statue\u003c/a> from the base of Coit Tower on June 18, 2020. The following day, \u003ca href=\"https://www.kqed.org/news/11826151/how-do-we-heal-toppling-the-myth-of-junipero-serra\">protesters pulled down three statues\u003c/a> in Golden Gate Park’s Music Concourse: monuments to Francis Scott Key, Junípero Serra and Ulysses S. Grant.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>While the plinths have stood empty, the SFAC has engaged in an unprecedented effort to truly reckon with the city’s monuments. Over the past six years, the agency has deeply researched all 105 monuments in San Francisco’s Civic Art Collection, holding community meetings and soliciting feedback. In 2025, the SFAC released a \u003ca href=\"https://media.api.sf.gov/documents/SL_Audit_Final_Report_Tear_Sheets_Web_05052025.pdf\">521-page audit report\u003c/a>.\u003cbr>\u003cbr>Now, as its final act, the \u003ca href=\"https://www.sf.gov/shaping-legacy\">Shaping Legacy project\u003c/a> has commissioned five artists and collaboratives to create temporary monuments to subjects of their choice.\u003c/p>\n",
"innerContent": [
"\n\u003cp>While the plinths have stood empty, the SFAC has engaged in an unprecedented effort to truly reckon with the city’s monuments. Over the past six years, the agency has deeply researched all 105 monuments in San Francisco’s Civic Art Collection, holding community meetings and soliciting feedback. In 2025, the SFAC released a \u003ca href=\"https://media.api.sf.gov/documents/SL_Audit_Final_Report_Tear_Sheets_Web_05052025.pdf\">521-page audit report\u003c/a>.\u003cbr>\u003cbr>Now, as its final act, the \u003ca href=\"https://www.sf.gov/shaping-legacy\">Shaping Legacy project\u003c/a> has commissioned five artists and collaboratives to create temporary monuments to subjects of their choice.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Instead of nativist leaders or military victories, these artworks celebrate refugees, paleteros, garment and shipyard workers, and families of the Great Migration. Currently playing out as installations and events, and spreading from Civic Center to Hunters Point, these pieces of public art challenge the very notion of what San Francisco’s future monuments can be. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Instead of nativist leaders or military victories, these artworks celebrate refugees, paleteros, garment and shipyard workers, and families of the Great Migration. Currently playing out as installations and events, and spreading from Civic Center to Hunters Point, these pieces of public art challenge the very notion of what San Francisco’s future monuments can be. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991396,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Courtesy of Kaleb Duarte",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2000x919.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-1536x706.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2048x941.jpg 2048w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg\" alt=\"man wraps metal scaffolding in gold mylar, group poses on scaffolding\" class=\"wp-image-13991396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2000x919.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-1536x706.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2048x941.jpg 2048w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">A team of artist ambassadors works on ‘Embassy of the Refugee’ in San Francisco’s Fulton Plaza.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg\" alt=\"man wraps metal scaffolding in gold mylar, group poses on scaffolding\" class=\"wp-image-13991396\"/>\u003cfigcaption class=\"wp-element-caption\">A team of artist ambassadors works on ‘Embassy of the Refugee’ in San Francisco’s Fulton Plaza.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "A monument to invisible labor",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A monument to invisible labor\u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A monument to invisible labor\u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The Civic Center is home to nearly a quarter of the city’s monuments, the most prominent of which sits between the main library and the Asian Art Museum. Created in 1894 by sculptor Frank Happersberger, the \u003cem>Pioneer Monument\u003c/em> tells a selective and glorified story of California’s founding, illustrated by the white Americans (plus a few Spanish and Mexican leaders) who conquered the land and its Indigenous people. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The Civic Center is home to nearly a quarter of the city’s monuments, the most prominent of which sits between the main library and the Asian Art Museum. Created in 1894 by sculptor Frank Happersberger, the \u003cem>Pioneer Monument\u003c/em> tells a selective and glorified story of California’s founding, illustrated by the white Americans (plus a few Spanish and Mexican leaders) who conquered the land and its Indigenous people. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>For decades, Native American activists called for the removal of one especially offensive component of the monument. \u003cem>Early Days\u003c/em> depicted Junípero Serra “converting” a supine Indigenous man (depicted as a Plains Indian). A triumphant vaquero stood by with his arm raised.\u003cem> \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>For decades, Native American activists called for the removal of one especially offensive component of the monument. \u003cem>Early Days\u003c/em> depicted Junípero Serra “converting” a supine Indigenous man (depicted as a Plains Indian). A triumphant vaquero stood by with his arm raised.\u003cem> \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In 2018, after successful lobbying, \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">\u003cem>Early Days\u003c/em> was removed\u003c/a>. Even so, according to a 2023 community survey by the Monuments and Memorials Advisory Committee (MMAC, a precursor to the Shaping Legacy project), the \u003cem>Pioneer Monument\u003c/em> remains one of the city’s least-liked monuments.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In 2018, after successful lobbying, \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">\u003cem>Early Days\u003c/em> was removed\u003c/a>. Even so, according to a 2023 community survey by the Monuments and Memorials Advisory Committee (MMAC, a precursor to the Shaping Legacy project), the \u003cem>Pioneer Monument\u003c/em> remains one of the city’s least-liked monuments.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The site’s contentious history provides a rare opportunity for an artist to confront such historical symbols of power. And \u003ca href=\"https://www.calebduarte.org/\">Kaleb Duarte\u003c/a> is up to the task.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The site’s contentious history provides a rare opportunity for an artist to confront such historical symbols of power. And \u003ca href=\"https://www.calebduarte.org/\">Kaleb Duarte\u003c/a> is up to the task.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Currently, a delicate scaffolding and scrim sits around the center of the \u003cem>Pioneer Monument\u003c/em>, obscuring the view of its bronze reliefs. Since early June, Duarte and a team of “artist ambassadors” have been working on site, covering the metal poles of the scaffolding with strips of gold mylar. They are, in effect, gilding the structure. The piece, titled \u003cem>Embassy of the Refuge\u003c/em>e, is part of an ongoing series.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Currently, a delicate scaffolding and scrim sits around the center of the \u003cem>Pioneer Monument\u003c/em>, obscuring the view of its bronze reliefs. Since early June, Duarte and a team of “artist ambassadors” have been working on site, covering the metal poles of the scaffolding with strips of gold mylar. They are, in effect, gilding the structure. The piece, titled \u003cem>Embassy of the Refuge\u003c/em>e, is part of an ongoing series.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“The scaffold is an ugly thing that you try to not look at when you’re looking at architecture,” Duarte says on a windy farmers market day, “but I think it represents the worker and the forgotten.” Duarte’s collaborators are from Guatemala, Honduras, El Salvador and Mexico; the participants have been in the United States anywhere from two to 15 years. \u003c/p>\n",
"innerContent": [
"\n\u003cp>“The scaffold is an ugly thing that you try to not look at when you’re looking at architecture,” Duarte says on a windy farmers market day, “but I think it represents the worker and the forgotten.” Duarte’s collaborators are from Guatemala, Honduras, El Salvador and Mexico; the participants have been in the United States anywhere from two to 15 years. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991394,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Courtesy of Kaleb Duarte",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg\" alt=\"two people stand on scaffolding beside bronze statue\" class=\"wp-image-13991394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Artist ambassadors work on ‘Embassy of the Refugee’ in Fulton Plaza.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg\" alt=\"two people stand on scaffolding beside bronze statue\" class=\"wp-image-13991394\"/>\u003cfigcaption class=\"wp-element-caption\">Artist ambassadors work on ‘Embassy of the Refugee’ in Fulton Plaza.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In outdoor workshops, the group has discussed memories of home next to the installation, recording these histories as a way of documenting the Bay Area’s larger immigrant and refugee networks. The gold mylar, which flutters in the plaza’s always-present breeze, references the emergency blankets used at detention centers. Turning “a symbol of potential trauma into something beautiful,” as Duarte says, is one of the piece’s many acts of transformation.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In outdoor workshops, the group has discussed memories of home next to the installation, recording these histories as a way of documenting the Bay Area’s larger immigrant and refugee networks. The gold mylar, which flutters in the plaza’s always-present breeze, references the emergency blankets used at detention centers. Turning “a symbol of potential trauma into something beautiful,” as Duarte says, is one of the piece’s many acts of transformation.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In keeping with the idea of a living, active monument, \u003cem>Embassy of the Refugee\u003c/em> will host performances on July 25 by Guatemala-based artists Regina José Galindo and Marilyn Boror Bor (Maya-Kaqchikel), along with Duarte’s frequent collaborator Mia Eve Rollow.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In keeping with the idea of a living, active monument, \u003cem>Embassy of the Refugee\u003c/em> will host performances on July 25 by Guatemala-based artists Regina José Galindo and Marilyn Boror Bor (Maya-Kaqchikel), along with Duarte’s frequent collaborator Mia Eve Rollow.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Within the scaffolding, a ghostly mesh tent echoes both refugee tents and the pediment of City Hall. “The idea of home and house is carried by the body and by memory, not by architecture,” Duarte says, gesturing at the \u003cem>Pioneer Monument\u003c/em>. “Memory is always in movement, rather than these solid structures that force us to remember certain things. They don’t really engage us.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Within the scaffolding, a ghostly mesh tent echoes both refugee tents and the pediment of City Hall. “The idea of home and house is carried by the body and by memory, not by architecture,” Duarte says, gesturing at the \u003cem>Pioneer Monument\u003c/em>. “Memory is always in movement, rather than these solid structures that force us to remember certain things. They don’t really engage us.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "‘More work to be done’",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘More work to be done’\u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘More work to be done’\u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>By design, most monuments are built to withstand the ravages of time, even as the world shifts radically around them. It takes events like the 2020 topplings to shift a city’s inertia into action. \u003c/p>\n",
"innerContent": [
"\n\u003cp>By design, most monuments are built to withstand the ravages of time, even as the world shifts radically around them. It takes events like the 2020 topplings to shift a city’s inertia into action. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Shortly after the removal of the Golden Gate Park statues, Mayor London Breed called on the SFAC and other city agencies to change the guidelines around monuments “to reflect the values of the city.” In May 2023, the MMAC’s \u003ca href=\"https://media.api.sf.gov/documents/SF_MMAC_Final_Report_2023.pdf\">final report\u003c/a> made recommendations for evaluating the collection further, while noting, hopefully, that “this is the beginning phase of a larger process; there is more work to be done.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Shortly after the removal of the Golden Gate Park statues, Mayor London Breed called on the SFAC and other city agencies to change the guidelines around monuments “to reflect the values of the city.” In May 2023, the MMAC’s \u003ca href=\"https://media.api.sf.gov/documents/SF_MMAC_Final_Report_2023.pdf\">final report\u003c/a> made recommendations for evaluating the collection further, while noting, hopefully, that “this is the beginning phase of a larger process; there is more work to be done.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“The city loves reports,” says Angela Carrier, Shaping Legacy’s senior project manager. Normally, she explains, that MMAC report might have just sat there, inert. But a $3 million \u003ca href=\"https://www.mellon.org/news/monuments-project-giving-exceeds-150-million\">Mellon Foundation grant\u003c/a> meant the city could actually implement some of the MMAC recommendations. \u003c/p>\n",
"innerContent": [
"\n\u003cp>“The city loves reports,” says Angela Carrier, Shaping Legacy’s senior project manager. Normally, she explains, that MMAC report might have just sat there, inert. But a $3 million \u003ca href=\"https://www.mellon.org/news/monuments-project-giving-exceeds-150-million\">Mellon Foundation grant\u003c/a> meant the city could actually implement some of the MMAC recommendations. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991401,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Beth LaBerge/KQED",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg\" alt=\"gold covered metal posts of scaffolding in front of a stone plinth\" class=\"wp-image-13991401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘Embassy of the Refugee’ sits around the ‘Pioneer Monument,’ created in 1894 by sculptor Frank Happersberger and funded by James Lick.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg\" alt=\"gold covered metal posts of scaffolding in front of a stone plinth\" class=\"wp-image-13991401\"/>\u003cfigcaption class=\"wp-element-caption\">‘Embassy of the Refugee’ sits around the ‘Pioneer Monument,’ created in 1894 by sculptor Frank Happersberger and funded by James Lick.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Shaping Legacy’s first step was to truly audit the San Francisco’s 105 monuments: what do they commemorate, who paid for their construction, what was the context of their creation? “‘We don’t know what we don’t know,’ is what my colleague Allison Cummings says often,” Carrier says.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Shaping Legacy’s first step was to truly audit the San Francisco’s 105 monuments: what do they commemorate, who paid for their construction, what was the context of their creation? “‘We don’t know what we don’t know,’ is what my colleague Allison Cummings says often,” Carrier says.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The audit found that 41 of the city’s monuments pre-dated the SFAC, which was established by city charter in 1932. Another 46 entered the Civic Art Collection as gifts from wealthy donors or organized civic groups. Only 18 monuments were explicitly commissioned or acquired by the city. A whopping 77% of the city’s monuments were made by male artists.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The audit found that 41 of the city’s monuments pre-dated the SFAC, which was established by city charter in 1932. Another 46 entered the Civic Art Collection as gifts from wealthy donors or organized civic groups. Only 18 monuments were explicitly commissioned or acquired by the city. A whopping 77% of the city’s monuments were made by male artists.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Then, the work shifted to the present: “Who’s here now? What’s our new understanding of these monuments and the power and public memory at play?” Carrier says. Partnering with the community organizations Gray Area, 500 Capp Street, the Samoan Community Development Center and the Tenderloin Museum, Shaping Legacy funded artist-led film screenings, walking tours, discussions and performances across the city. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Then, the work shifted to the present: “Who’s here now? What’s our new understanding of these monuments and the power and public memory at play?” Carrier says. Partnering with the community organizations Gray Area, 500 Capp Street, the Samoan Community Development Center and the Tenderloin Museum, Shaping Legacy funded artist-led film screenings, walking tours, discussions and performances across the city. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>This year, further collaborations with SOMA Pilipinas, the California Migration Museum and Shaping San Francisco have addressed some of the city’s most contentious sites: the Dewey Monument in Union Square, the now-empty plinth of Christopher Columbus, and the trio of sculptures toppled in Golden Gate Park.\u003c/p>\n",
"innerContent": [
"\n\u003cp>This year, further collaborations with SOMA Pilipinas, the California Migration Museum and Shaping San Francisco have addressed some of the city’s most contentious sites: the Dewey Monument in Union Square, the now-empty plinth of Christopher Columbus, and the trio of sculptures toppled in Golden Gate Park.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Ultimately, the SFAC will make recommendations about the future of these sites, and how the city should consider the removal, relocation or destruction of monuments moving forward. One of the crucial findings from the Shaping Legacy audit is that the public is far more interested in the creation of new work than the removal of existing statues. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Ultimately, the SFAC will make recommendations about the future of these sites, and how the city should consider the removal, relocation or destruction of monuments moving forward. One of the crucial findings from the Shaping Legacy audit is that the public is far more interested in the creation of new work than the removal of existing statues. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“New monuments have the opportunity to tell the complete story of San Francisco by memorializing stories previously untold and marginalized,” the report states. “New monuments can also be an opportunity for community empowerment, celebration and joy.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“New monuments have the opportunity to tell the complete story of San Francisco by memorializing stories previously untold and marginalized,” the report states. “New monuments can also be an opportunity for community empowerment, celebration and joy.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991399,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Beth LaBerge/KQED",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg\" alt=\"man in glasses on stool in painting studio with artworks behind him\" class=\"wp-image-13991399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Adrián Arias sits in his studio in Oakland on July 7, 2026.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg\" alt=\"man in glasses on stool in painting studio with artworks behind him\" class=\"wp-image-13991399\"/>\u003cfigcaption class=\"wp-element-caption\">Adrián Arias sits in his studio in Oakland on July 7, 2026.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Memorializing the everyday",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Memorializing the everyday\u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Memorializing the everyday\u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>It’s difficult to find something more joyful than \u003ca href=\"https://adrianarias.com/\">Adrián Arias\u003c/a>’ enthusiasm for paletas. The Shaping Legacy grantee has built a roving, multifaceted homage to the paleteros and paleteras who trace a “sweet route” through the Mission District.\u003c/p>\n",
"innerContent": [
"\n\u003cp>It’s difficult to find something more joyful than \u003ca href=\"https://adrianarias.com/\">Adrián Arias\u003c/a>’ enthusiasm for paletas. The Shaping Legacy grantee has built a roving, multifaceted homage to the paleteros and paleteras who trace a “sweet route” through the Mission District.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>A Sweet Route\u003c/em> kicked off during Carnaval with a small army of paleteros handing out free treats, as they rolled down the parade route. At their center was Arias’ sculpture of eight-foot-tall vibrantly painted paleta. “It was a very happy moment for everybody,” he says. “And a very special recognition for immigrant workers.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>A Sweet Route\u003c/em> kicked off during Carnaval with a small army of paleteros handing out free treats, as they rolled down the parade route. At their center was Arias’ sculpture of eight-foot-tall vibrantly painted paleta. “It was a very happy moment for everybody,” he says. “And a very special recognition for immigrant workers.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The celebrations continued on June 20 with a music- and dance-fueled walk from the 24th Street BART Plaza to Parque Niños Unidos, where the Oakland band LoCura and Anaís Azul performed the specially commissioned (and very catchy) song “\u003ca href=\"https://locuramusica.bandcamp.com/track/paleter\">Paleter@\u003c/a>.” A painted wooden monument to two local paleteros now stands in the park, watching over playing children. On Aug. 2, the project will move, with equal fanfare, to Potrero del Sol.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The celebrations continued on June 20 with a music- and dance-fueled walk from the 24th Street BART Plaza to Parque Niños Unidos, where the Oakland band LoCura and Anaís Azul performed the specially commissioned (and very catchy) song “\u003ca href=\"https://locuramusica.bandcamp.com/track/paleter\">Paleter@\u003c/a>.” A painted wooden monument to two local paleteros now stands in the park, watching over playing children. On Aug. 2, the project will move, with equal fanfare, to Potrero del Sol.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991397,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Courtesy of Adrián Arias",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2000x885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-1536x679.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2048x906.jpg 2048w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg\" alt=\"\" class=\"wp-image-13991397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2000x885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-1536x679.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2048x906.jpg 2048w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Left: Artist Adrián Arias works on a ‘A Sweet Route: Tribute to Paleteros.’ Right: ‘A Sweet Route’ at the Carnaval parade in San Francisco on May 24, 2026.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg\" alt=\"\" class=\"wp-image-13991397\"/>\u003cfigcaption class=\"wp-element-caption\">Left: Artist Adrián Arias works on a ‘A Sweet Route: Tribute to Paleteros.’ Right: ‘A Sweet Route’ at the Carnaval parade in San Francisco on May 24, 2026.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Arias is brimming with ideas for even more temporary monuments, particularly for the Mission, which has no permanent city monuments. “I really like the idea of the ephemeral thing that is a temporary monument moving around,” Arias says. He believes ardently in “recognizing our own heroes in our own neighborhoods.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Arias is brimming with ideas for even more temporary monuments, particularly for the Mission, which has no permanent city monuments. “I really like the idea of the ephemeral thing that is a temporary monument moving around,” Arias says. He believes ardently in “recognizing our own heroes in our own neighborhoods.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>A hallmark of the five Shaping Legacy artists is a drive toward dispersal — to share their own enthusiasm for their chosen subject with as many members of the public and in as many formats as possible. \u003c/p>\n",
"innerContent": [
"\n\u003cp>A hallmark of the five Shaping Legacy artists is a drive toward dispersal — to share their own enthusiasm for their chosen subject with as many members of the public and in as many formats as possible. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003ca href=\"https://www.instagram.com/sew_frisco/\">Ariana Martinez-Cruz\u003c/a> is currently hard at work on \u003cem>Threaded Histories\u003c/em>, a monument to San Francisco’s garment workers, which will connect the city’s Latino and Chinese immigrant communities through a July 11 mending workshop, a Chinatown-Rose Pak Station information kiosk, a large-scale textile sculpture and the distribution of custom-made patches (among other manifestations).\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003ca href=\"https://www.instagram.com/sew_frisco/\">Ariana Martinez-Cruz\u003c/a> is currently hard at work on \u003cem>Threaded Histories\u003c/em>, a monument to San Francisco’s garment workers, which will connect the city’s Latino and Chinese immigrant communities through a July 11 mending workshop, a Chinatown-Rose Pak Station information kiosk, a large-scale textile sculpture and the distribution of custom-made patches (among other manifestations).\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>For Martinez-Cruz, a big part of her work is empowering others to see the monumental in their own ordinary actions. \u003c/p>\n",
"innerContent": [
"\n\u003cp>For Martinez-Cruz, a big part of her work is empowering others to see the monumental in their own ordinary actions. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“When I do community workshops, at least three if not more people will come to me and say ‘I remember when my mom sewed like this,’” she says. “And then I’m listening to their stories of their loved things that were mended or made for a special occasion. It’s helping people connect to what they didn’t realize was living history in front of them.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“When I do community workshops, at least three if not more people will come to me and say ‘I remember when my mom sewed like this,’” she says. “And then I’m listening to their stories of their loved things that were mended or made for a special occasion. It’s helping people connect to what they didn’t realize was living history in front of them.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13991403,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Beth LaBerge/KQED",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-1536x1024.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg\" alt=\"brightly painted wooden monument in park with playground behind\" class=\"wp-image-13991403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Adrián Arias’ ‘A Sweet Route: Tribute to Paleteros’ at Parque Niños Unidos in the Mission District of San Francisco on July 6, 2026, honors and celebrates immigrant ice cream vendors.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg\" alt=\"brightly painted wooden monument in park with playground behind\" class=\"wp-image-13991403\"/>\u003cfigcaption class=\"wp-element-caption\">Adrián Arias’ ‘A Sweet Route: Tribute to Paleteros’ at Parque Niños Unidos in the Mission District of San Francisco on July 6, 2026, honors and celebrates immigrant ice cream vendors.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"text": "Monuments to the future",
"level": 2
},
"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Monuments to the future\u003c/strong>\u003c/h2>\n",
"innerContent": [
"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Monuments to the future\u003c/strong>\u003c/h2>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The many aspects of the Shaping Legacy commissions fill a timeline that stretches well into October, including forthcoming temporary monuments by \u003ca href=\"https://afatasi.com/\">Afatasi the Artist\u003c/a> and \u003ca href=\"http://www.staceycarter.net/home.html\">Stacey Carter\u003c/a> and a team of collaborators, both in Bayview-Hunters Point. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The many aspects of the Shaping Legacy commissions fill a timeline that stretches well into October, including forthcoming temporary monuments by \u003ca href=\"https://afatasi.com/\">Afatasi the Artist\u003c/a> and \u003ca href=\"http://www.staceycarter.net/home.html\">Stacey Carter\u003c/a> and a team of collaborators, both in Bayview-Hunters Point. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The grant period comes to a close at the end of 2026. Carrier says the project aims to leave the city with real recommendations about the future of its monuments, especially the ones that have been removed from view in recent years. \u003c/p>\n",
"innerContent": [
"\n\u003cp>The grant period comes to a close at the end of 2026. Carrier says the project aims to leave the city with real recommendations about the future of its monuments, especially the ones that have been removed from view in recent years. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>There will be no one-size-fits-all solution, she emphasizes. But so far, public feedback and the current commissions make a very good case for the power of adding even temporary artwork to the city’s so-called “commemorative landscape.” \u003c/p>\n",
"innerContent": [
"\n\u003cp>There will be no one-size-fits-all solution, she emphasizes. But so far, public feedback and the current commissions make a very good case for the power of adding even temporary artwork to the city’s so-called “commemorative landscape.” \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>It may take another infusion of non-taxpayer money like the Mellon grant, however, for Shaping Legacy’s final recommendations to be turned into action. The SFAC has limited staffing and funding to continue commissioning temporary artworks.\u003c/p>\n",
"innerContent": [
"\n\u003cp>It may take another infusion of non-taxpayer money like the Mellon grant, however, for Shaping Legacy’s final recommendations to be turned into action. The SFAC has limited staffing and funding to continue commissioning temporary artworks.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Meanwhile, the desire for more monuments to everyday life and ordinary people is palpable. Arias recalls, “Installing the other day at Parque Niños Unidos, a group of nannies came to me and said, ‘Where will be the monument for nannies?’”\u003c/p>\n",
"innerContent": [
"\n\u003cp>Meanwhile, the desire for more monuments to everyday life and ordinary people is palpable. Arias recalls, “Installing the other day at Parque Niños Unidos, a group of nannies came to me and said, ‘Where will be the monument for nannies?’”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": [],
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>For the most up-to-date list of Shaping Legacy artworks and events, \u003c/em>\u003ca href=\"https://www.sf.gov/shaping-legacy\">\u003cem>click here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>For the most up-to-date list of Shaping Legacy artworks and events, \u003c/em>\u003ca href=\"https://www.sf.gov/shaping-legacy\">\u003cem>click here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Upcoming events include Ariana Martinez-Cruz’s ‘Threaded Histories’ Community Mending Circle at Cultura y Arte Nativa de las Americas (683 Florida St., San Francisco), on July 11, 12–4 p.m. and a ‘Threaded Histories’ Monument patch distribution and celebration at CANA on July 25, 12–4 p.m.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Upcoming events include Ariana Martinez-Cruz’s ‘Threaded Histories’ Community Mending Circle at Cultura y Arte Nativa de las Americas (683 Florida St., San Francisco), on July 11, 12–4 p.m. and a ‘Threaded Histories’ Monument patch distribution and celebration at CANA on July 25, 12–4 p.m.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Kaleb Duarte’s ‘Embassy of the Refugee’ will host performances on July 25 at Fulton Plaza. \u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Kaleb Duarte’s ‘Embassy of the Refugee’ will host performances on July 25 at Fulton Plaza. \u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Adrián Arias’ ‘A Sweet Route’ will be on view at Parque Niños Unidos (23rd and Treat Streets) through July 20 and will move to Potrero del Sol (Potrero Avenue and 25th Street) for a celebration on Aug. 2.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Adrián Arias’ ‘A Sweet Route’ will be on view at Parque Niños Unidos (23rd and Treat Streets) through July 20 and will move to Potrero del Sol (Potrero Avenue and 25th Street) for a celebration on Aug. 2.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>Stacey Carter’s ‘CRANE project’ will illuminate the Hunters Point Shipyard Gantry Crane Oct. 9–11 and 16–18.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>Stacey Carter’s ‘CRANE project’ will illuminate the Hunters Point Shipyard Gantry Crane Oct. 9–11 and 16–18.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "Artists are creating temporary monuments to ordinary people as part of the Shaping Legacy project.",
"status": "publish",
"parent": 0,
"modified": 1784051715,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 43,
"wordCount": 2319
},
"headData": {
"title": "Artists Are Filling SF With Monuments to Ordinary People | KQED",
"description": "Artists are creating temporary monuments to ordinary people as part of the Shaping Legacy project.",
"ogTitle": "In San Francisco, a Reckoning With Toppled Statues Gives Rise to New Monuments",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In San Francisco, a Reckoning With Toppled Statues Gives Rise to New Monuments",
"twDescription": "",
"twImgId": "",
"socialTitle": "Artists Are Filling SF With Monuments to Ordinary People %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In San Francisco, a Reckoning With Toppled Statues Gives Rise to New Monuments",
"datePublished": "2026-07-08T06:00:00-07:00",
"dateModified": "2026-07-14T10:55:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/87fdd794-f90e-4280-920f-ab89016e8062/d045e490-bcef-49fd-8f6c-b481016ed17e/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13991360",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the weeks of protests following the murder of George Floyd, monuments across the country became the focus of intense, righteous energy. For too long, the demonstrators argued, these representations of oppression and violence — sometimes, of outright sedition — had presided over public spaces, warping our understanding of America’s past.\u003c/p>\n\n\n\n\u003cp>In some instances, the statues had been the subject of years of organizing and petitions for removal, to no avail. So in 2020, people \u003ca href=\"https://www.kqed.org/news/11824381/historical-figures-reassessed-after-george-floyds-death\">took matters into their own hands\u003c/a>, either tagging the monuments’ pedestals, pouring red paint on them or toppling the statues altogether. \u003c/p>\n\n\n\n\n\n\u003cp>It was these actions — and the physical danger to those doing the toppling — that led the San Francisco Arts Commission (SFAC) to preemptively remove the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\">Christopher Columbus statue\u003c/a> from the base of Coit Tower on June 18, 2020. The following day, \u003ca href=\"https://www.kqed.org/news/11826151/how-do-we-heal-toppling-the-myth-of-junipero-serra\">protesters pulled down three statues\u003c/a> in Golden Gate Park’s Music Concourse: monuments to Francis Scott Key, Junípero Serra and Ulysses S. Grant.\u003c/p>\n\n\n\n\u003cp>While the plinths have stood empty, the SFAC has engaged in an unprecedented effort to truly reckon with the city’s monuments. Over the past six years, the agency has deeply researched all 105 monuments in San Francisco’s Civic Art Collection, holding community meetings and soliciting feedback. In 2025, the SFAC released a \u003ca href=\"https://media.api.sf.gov/documents/SL_Audit_Final_Report_Tear_Sheets_Web_05052025.pdf\">521-page audit report\u003c/a>.\u003cbr>\u003cbr>Now, as its final act, the \u003ca href=\"https://www.sf.gov/shaping-legacy\">Shaping Legacy project\u003c/a> has commissioned five artists and collaboratives to create temporary monuments to subjects of their choice.\u003c/p>\n\n\n\n\u003cp>Instead of nativist leaders or military victories, these artworks celebrate refugees, paleteros, garment and shipyard workers, and families of the Great Migration. Currently playing out as installations and events, and spreading from Civic Center to Hunters Point, these pieces of public art challenge the very notion of what San Francisco’s future monuments can be. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1176\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg\" alt=\"man wraps metal scaffolding in gold mylar, group poses on scaffolding\" class=\"wp-image-13991396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2000x919.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-1536x706.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_Diptych-2048x941.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-element-caption\">A team of artist ambassadors works on ‘Embassy of the Refugee’ in San Francisco’s Fulton Plaza. (Courtesy of Kaleb Duarte)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A monument to invisible labor\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The Civic Center is home to nearly a quarter of the city’s monuments, the most prominent of which sits between the main library and the Asian Art Museum. Created in 1894 by sculptor Frank Happersberger, the \u003cem>Pioneer Monument\u003c/em> tells a selective and glorified story of California’s founding, illustrated by the white Americans (plus a few Spanish and Mexican leaders) who conquered the land and its Indigenous people. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, Native American activists called for the removal of one especially offensive component of the monument. \u003cem>Early Days\u003c/em> depicted Junípero Serra “converting” a supine Indigenous man (depicted as a Plains Indian). A triumphant vaquero stood by with his arm raised.\u003cem> \u003c/em>\u003c/p>\n\n\n\n\u003cp>In 2018, after successful lobbying, \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">\u003cem>Early Days\u003c/em> was removed\u003c/a>. Even so, according to a 2023 community survey by the Monuments and Memorials Advisory Committee (MMAC, a precursor to the Shaping Legacy project), the \u003cem>Pioneer Monument\u003c/em> remains one of the city’s least-liked monuments.\u003c/p>\n\n\n\n\u003cp>The site’s contentious history provides a rare opportunity for an artist to confront such historical symbols of power. And \u003ca href=\"https://www.calebduarte.org/\">Kaleb Duarte\u003c/a> is up to the task.\u003c/p>\n\n\n\n\u003cp>Currently, a delicate scaffolding and scrim sits around the center of the \u003cem>Pioneer Monument\u003c/em>, obscuring the view of its bronze reliefs. Since early June, Duarte and a team of “artist ambassadors” have been working on site, covering the metal poles of the scaffolding with strips of gold mylar. They are, in effect, gilding the structure. The piece, titled \u003cem>Embassy of the Refuge\u003c/em>e, is part of an ongoing series.\u003c/p>\n\n\n\n\u003cp>“The scaffold is an ugly thing that you try to not look at when you’re looking at architecture,” Duarte says on a windy farmers market day, “but I think it represents the worker and the forgotten.” Duarte’s collaborators are from Guatemala, Honduras, El Salvador and Mexico; the participants have been in the United States anywhere from two to 15 years. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg\" alt=\"two people stand on scaffolding beside bronze statue\" class=\"wp-image-13991394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/KalebDuarte_CourtesyPhotos_5-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Artist ambassadors work on ‘Embassy of the Refugee’ in Fulton Plaza. (Courtesy of Kaleb Duarte)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In outdoor workshops, the group has discussed memories of home next to the installation, recording these histories as a way of documenting the Bay Area’s larger immigrant and refugee networks. The gold mylar, which flutters in the plaza’s always-present breeze, references the emergency blankets used at detention centers. Turning “a symbol of potential trauma into something beautiful,” as Duarte says, is one of the piece’s many acts of transformation.\u003c/p>\n\n\n\n\u003cp>In keeping with the idea of a living, active monument, \u003cem>Embassy of the Refugee\u003c/em> will host performances on July 25 by Guatemala-based artists Regina José Galindo and Marilyn Boror Bor (Maya-Kaqchikel), along with Duarte’s frequent collaborator Mia Eve Rollow.\u003c/p>\n\n\n\n\u003cp>Within the scaffolding, a ghostly mesh tent echoes both refugee tents and the pediment of City Hall. “The idea of home and house is carried by the body and by memory, not by architecture,” Duarte says, gesturing at the \u003cem>Pioneer Monument\u003c/em>. “Memory is always in movement, rather than these solid structures that force us to remember certain things. They don’t really engage us.”\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘More work to be done’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>By design, most monuments are built to withstand the ravages of time, even as the world shifts radically around them. It takes events like the 2020 topplings to shift a city’s inertia into action. \u003c/p>\n\n\n\n\u003cp>Shortly after the removal of the Golden Gate Park statues, Mayor London Breed called on the SFAC and other city agencies to change the guidelines around monuments “to reflect the values of the city.” In May 2023, the MMAC’s \u003ca href=\"https://media.api.sf.gov/documents/SF_MMAC_Final_Report_2023.pdf\">final report\u003c/a> made recommendations for evaluating the collection further, while noting, hopefully, that “this is the beginning phase of a larger process; there is more work to be done.”\u003c/p>\n\n\n\n\u003cp>“The city loves reports,” says Angela Carrier, Shaping Legacy’s senior project manager. Normally, she explains, that MMAC report might have just sat there, inert. But a $3 million \u003ca href=\"https://www.mellon.org/news/monuments-project-giving-exceeds-150-million\">Mellon Foundation grant\u003c/a> meant the city could actually implement some of the MMAC recommendations. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg\" alt=\"gold covered metal posts of scaffolding in front of a stone plinth\" class=\"wp-image-13991401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-10-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘Embassy of the Refugee’ sits around the ‘Pioneer Monument,’ created in 1894 by sculptor Frank Happersberger and funded by James Lick. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Shaping Legacy’s first step was to truly audit the San Francisco’s 105 monuments: what do they commemorate, who paid for their construction, what was the context of their creation? “‘We don’t know what we don’t know,’ is what my colleague Allison Cummings says often,” Carrier says.\u003c/p>\n\n\n\n\u003cp>The audit found that 41 of the city’s monuments pre-dated the SFAC, which was established by city charter in 1932. Another 46 entered the Civic Art Collection as gifts from wealthy donors or organized civic groups. Only 18 monuments were explicitly commissioned or acquired by the city. A whopping 77% of the city’s monuments were made by male artists.\u003c/p>\n\n\n\n\u003cp>Then, the work shifted to the present: “Who’s here now? What’s our new understanding of these monuments and the power and public memory at play?” Carrier says. Partnering with the community organizations Gray Area, 500 Capp Street, the Samoan Community Development Center and the Tenderloin Museum, Shaping Legacy funded artist-led film screenings, walking tours, discussions and performances across the city. \u003c/p>\n\n\n\n\u003cp>This year, further collaborations with SOMA Pilipinas, the California Migration Museum and Shaping San Francisco have addressed some of the city’s most contentious sites: the Dewey Monument in Union Square, the now-empty plinth of Christopher Columbus, and the trio of sculptures toppled in Golden Gate Park.\u003c/p>\n\n\n\n\u003cp>Ultimately, the SFAC will make recommendations about the future of these sites, and how the city should consider the removal, relocation or destruction of monuments moving forward. One of the crucial findings from the Shaping Legacy audit is that the public is far more interested in the creation of new work than the removal of existing statues. \u003c/p>\n\n\n\n\u003cp>“New monuments have the opportunity to tell the complete story of San Francisco by memorializing stories previously untold and marginalized,” the report states. “New monuments can also be an opportunity for community empowerment, celebration and joy.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg\" alt=\"man in glasses on stool in painting studio with artworks behind him\" class=\"wp-image-13991399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/070726-StatuesinSFToppled-01-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Adrián Arias sits in his studio in Oakland on July 7, 2026. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Memorializing the everyday\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>It’s difficult to find something more joyful than \u003ca href=\"https://adrianarias.com/\">Adrián Arias\u003c/a>’ enthusiasm for paletas. The Shaping Legacy grantee has built a roving, multifaceted homage to the paleteros and paleteras who trace a “sweet route” through the Mission District.\u003c/p>\n\n\n\n\u003cp>\u003cem>A Sweet Route\u003c/em> kicked off during Carnaval with a small army of paleteros handing out free treats, as they rolled down the parade route. At their center was Arias’ sculpture of eight-foot-tall vibrantly painted paleta. “It was a very happy moment for everybody,” he says. “And a very special recognition for immigrant workers.”\u003c/p>\n\n\n\n\u003cp>The celebrations continued on June 20 with a music- and dance-fueled walk from the 24th Street BART Plaza to Parque Niños Unidos, where the Oakland band LoCura and Anaís Azul performed the specially commissioned (and very catchy) song “\u003ca href=\"https://locuramusica.bandcamp.com/track/paleter\">Paleter@\u003c/a>.” A painted wooden monument to two local paleteros now stands in the park, watching over playing children. On Aug. 2, the project will move, with equal fanfare, to Potrero del Sol.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg\" alt=\"\" class=\"wp-image-13991397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2000x885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-1536x679.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AdrianArias_CourtesyPhotos_A-Sweet-Route-part1-Paleta-at-carnaval-Diptych-2048x906.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-element-caption\">Left: Artist Adrián Arias works on a ‘A Sweet Route: Tribute to Paleteros.’ Right: ‘A Sweet Route’ at the Carnaval parade in San Francisco on May 24, 2026. (Courtesy of Adrián Arias)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Arias is brimming with ideas for even more temporary monuments, particularly for the Mission, which has no permanent city monuments. “I really like the idea of the ephemeral thing that is a temporary monument moving around,” Arias says. He believes ardently in “recognizing our own heroes in our own neighborhoods.”\u003c/p>\n\n\n\n\u003cp>A hallmark of the five Shaping Legacy artists is a drive toward dispersal — to share their own enthusiasm for their chosen subject with as many members of the public and in as many formats as possible. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.instagram.com/sew_frisco/\">Ariana Martinez-Cruz\u003c/a> is currently hard at work on \u003cem>Threaded Histories\u003c/em>, a monument to San Francisco’s garment workers, which will connect the city’s Latino and Chinese immigrant communities through a July 11 mending workshop, a Chinatown-Rose Pak Station information kiosk, a large-scale textile sculpture and the distribution of custom-made patches (among other manifestations).\u003c/p>\n\n\n\n\u003cp>For Martinez-Cruz, a big part of her work is empowering others to see the monumental in their own ordinary actions. \u003c/p>\n\n\n\n\u003cp>“When I do community workshops, at least three if not more people will come to me and say ‘I remember when my mom sewed like this,’” she says. “And then I’m listening to their stories of their loved things that were mended or made for a special occasion. It’s helping people connect to what they didn’t realize was living history in front of them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg\" alt=\"brightly painted wooden monument in park with playground behind\" class=\"wp-image-13991403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260706-StatuesinSFToppled-12-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Adrián Arias’ ‘A Sweet Route: Tribute to Paleteros’ at Parque Niños Unidos in the Mission District of San Francisco on July 6, 2026, honors and celebrates immigrant ice cream vendors. (Beth LaBerge/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Monuments to the future\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The many aspects of the Shaping Legacy commissions fill a timeline that stretches well into October, including forthcoming temporary monuments by \u003ca href=\"https://afatasi.com/\">Afatasi the Artist\u003c/a> and \u003ca href=\"http://www.staceycarter.net/home.html\">Stacey Carter\u003c/a> and a team of collaborators, both in Bayview-Hunters Point. \u003c/p>\n\n\n\n\u003cp>The grant period comes to a close at the end of 2026. Carrier says the project aims to leave the city with real recommendations about the future of its monuments, especially the ones that have been removed from view in recent years. \u003c/p>\n\n\n\n\u003cp>There will be no one-size-fits-all solution, she emphasizes. But so far, public feedback and the current commissions make a very good case for the power of adding even temporary artwork to the city’s so-called “commemorative landscape.” \u003c/p>\n\n\n\n\u003cp>It may take another infusion of non-taxpayer money like the Mellon grant, however, for Shaping Legacy’s final recommendations to be turned into action. The SFAC has limited staffing and funding to continue commissioning temporary artworks.\u003c/p>\n\n\n\n\u003cp>Meanwhile, the desire for more monuments to everyday life and ordinary people is palpable. Arias recalls, “Installing the other day at Parque Niños Unidos, a group of nannies came to me and said, ‘Where will be the monument for nannies?’”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>For the most up-to-date list of Shaping Legacy artworks and events, \u003c/em>\u003ca href=\"https://www.sf.gov/shaping-legacy\">\u003cem>click here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Upcoming events include Ariana Martinez-Cruz’s ‘Threaded Histories’ Community Mending Circle at Cultura y Arte Nativa de las Americas (683 Florida St., San Francisco), on July 11, 12–4 p.m. and a ‘Threaded Histories’ Monument patch distribution and celebration at CANA on July 25, 12–4 p.m.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Kaleb Duarte’s ‘Embassy of the Refugee’ will host performances on July 25 at Fulton Plaza. \u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Adrián Arias’ ‘A Sweet Route’ will be on view at Parque Niños Unidos (23rd and Treat Streets) through July 20 and will move to Potrero del Sol (Potrero Avenue and 25th Street) for a celebration on Aug. 2.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Stacey Carter’s ‘CRANE project’ will illuminate the Hunters Point Shipyard Gantry Crane Oct. 9–11 and 16–18.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13991360/new-monuments-san-francisco-shaping-legacy-sfac",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_7862",
"arts_235",
"arts_70"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_10422",
"arts_3934",
"arts_2628",
"arts_1146",
"arts_1300"
],
"featImg": "arts_13991405",
"label": "arts"
},
"arts_13988903": {
"type": "posts",
"id": "arts_13988903",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13988903",
"score": null,
"sort": [
1777318095000
]
},
"guestAuthors": [],
"slug": "san-francisco-appoints-matthew-goudeau-to-top-arts-job",
"title": "San Francisco Appoints Matthew Goudeau to Top Arts Job",
"publishDate": 1777318095,
"format": "standard",
"headTitle": "San Francisco Appoints Matthew Goudeau to Top Arts Job | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Matthew Goudeau, current chief development officer for \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, will soon become San Francisco’s first executive director of arts and culture. The new top arts job, created by Mayor Daniel Lurie, will oversee three of the city’s arts agencies: the San Francisco Arts Commission, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>Goudeau has a lengthy history in the city’s arts and political circles. He started out in 1999 as an intern in the Mayor’s Office of Protocol under then-Mayor Willie Brown. Over the past 26 years, Goudeau has worked in various city agencies and at arts nonprofits, including Grants for the Arts, 500 Capp Street and the Chinati Foundation in Marfa, Texas. Before starting at YBCA in June 2025, Goudeau was Lurie’s deputy chief of staff.\u003c/p>\n\u003cfigure id=\"attachment_13988906\" class=\"wp-caption alignright\" style=\"max-width: 605px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2.jpeg\" alt=\"white man with glasses smiles\" width=\"605\" height=\"800\" class=\"size-full wp-image-13988906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2.jpeg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2-160x212.jpeg 160w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goudeau comes to the role from Yerba Buena Center for the Arts, where he has served as chief development officer for just under a year. \u003ccite>(City of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The search for an executive director of arts and culture was announced \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">in late January\u003c/a>, against a backdrop of devastating closures in the city’s arts sector, including the beloved Mission Cultural Center for Latino Arts and California College of the Arts, the region’s last remaining nonprofit art school. Members of the arts community called for the city to step up during what many saw as a “\u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">state of emergency\u003c/a>.”\u003c/p>\n\u003cp>Goudeau was selected after a three-month search process, during which the city received 259 applications. According to today’s announcement, community input pushed the search towards an arts leader with local roots.\u003c/p>\n\u003cp>“Matthew is a truly excellent choice for this new arts leadership position,” Rachelle Axel, executive director of Artists for a Better Bay Area, said in today’s announcement. “Our arts community has been holding a lot of anxiety because of many uncertainties in the sector, largely centered on the city’s role in the arts ecosystem. This hire was among the top concerns, and now we can cross it off our list.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new role is \u003ca href=\"https://www.sf.gov/news-mayor-lurie-advances-reimagined-citywide-arts-and-culture-strategy-to-support-san-franciscos-recovery\">a complex one\u003c/a>. In addition to overseeing the SFAC, GFTA and Film SF, Goudeau will serve as the mayor’s “principal advisor on policies that advance San Francisco’s creative economy, cultural equity and preservation, and public arts programming,” according to January’s job announcement.\u003c/p>\n\u003cp>Goudeau’s hiring comes just weeks after 127 city employees across 18 departments \u003ca href=\"https://www.kqed.org/news/12079126/more-layoffs-ahead-as-san-franciscos-budget-woes-persist\">received layoff notices\u003c/a>, as Mayor Lurie attempts to reduce salary and benefit spending by $100 million. In total, the mayor intends to eliminate a total of \u003ca href=\"https://www.kqed.org/news/12075213/san-francisco-mayor-daniel-lurie-looks-to-eliminate-500-city-jobs\">500 jobs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The mayor’s new budget, due June 1, will likely include cuts to some — if not all — of the three agencies now under Goudeau’s purview.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The new executive director of arts and culture will oversee three agencies and lead SF’s ‘creative economy strategy.’",
"status": "publish",
"parent": 0,
"modified": 1777323865,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 487
},
"headData": {
"title": "San Francisco Appoints Matthew Goudeau to Top Arts Job | KQED",
"description": "The new executive director of arts and culture will oversee three agencies and lead SF’s ‘creative economy strategy.’",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco Appoints Matthew Goudeau to Top Arts Job",
"datePublished": "2026-04-27T12:28:15-07:00",
"dateModified": "2026-04-27T14:04:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13988903",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13988903/san-francisco-appoints-matthew-goudeau-to-top-arts-job",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Matthew Goudeau, current chief development officer for \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, will soon become San Francisco’s first executive director of arts and culture. The new top arts job, created by Mayor Daniel Lurie, will oversee three of the city’s arts agencies: the San Francisco Arts Commission, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>Goudeau has a lengthy history in the city’s arts and political circles. He started out in 1999 as an intern in the Mayor’s Office of Protocol under then-Mayor Willie Brown. Over the past 26 years, Goudeau has worked in various city agencies and at arts nonprofits, including Grants for the Arts, 500 Capp Street and the Chinati Foundation in Marfa, Texas. Before starting at YBCA in June 2025, Goudeau was Lurie’s deputy chief of staff.\u003c/p>\n\u003cfigure id=\"attachment_13988906\" class=\"wp-caption alignright\" style=\"max-width: 605px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2.jpeg\" alt=\"white man with glasses smiles\" width=\"605\" height=\"800\" class=\"size-full wp-image-13988906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2.jpeg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2-160x212.jpeg 160w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goudeau comes to the role from Yerba Buena Center for the Arts, where he has served as chief development officer for just under a year. \u003ccite>(City of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The search for an executive director of arts and culture was announced \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">in late January\u003c/a>, against a backdrop of devastating closures in the city’s arts sector, including the beloved Mission Cultural Center for Latino Arts and California College of the Arts, the region’s last remaining nonprofit art school. Members of the arts community called for the city to step up during what many saw as a “\u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">state of emergency\u003c/a>.”\u003c/p>\n\u003cp>Goudeau was selected after a three-month search process, during which the city received 259 applications. According to today’s announcement, community input pushed the search towards an arts leader with local roots.\u003c/p>\n\u003cp>“Matthew is a truly excellent choice for this new arts leadership position,” Rachelle Axel, executive director of Artists for a Better Bay Area, said in today’s announcement. “Our arts community has been holding a lot of anxiety because of many uncertainties in the sector, largely centered on the city’s role in the arts ecosystem. This hire was among the top concerns, and now we can cross it off our list.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new role is \u003ca href=\"https://www.sf.gov/news-mayor-lurie-advances-reimagined-citywide-arts-and-culture-strategy-to-support-san-franciscos-recovery\">a complex one\u003c/a>. In addition to overseeing the SFAC, GFTA and Film SF, Goudeau will serve as the mayor’s “principal advisor on policies that advance San Francisco’s creative economy, cultural equity and preservation, and public arts programming,” according to January’s job announcement.\u003c/p>\n\u003cp>Goudeau’s hiring comes just weeks after 127 city employees across 18 departments \u003ca href=\"https://www.kqed.org/news/12079126/more-layoffs-ahead-as-san-franciscos-budget-woes-persist\">received layoff notices\u003c/a>, as Mayor Lurie attempts to reduce salary and benefit spending by $100 million. In total, the mayor intends to eliminate a total of \u003ca href=\"https://www.kqed.org/news/12075213/san-francisco-mayor-daniel-lurie-looks-to-eliminate-500-city-jobs\">500 jobs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The mayor’s new budget, due June 1, will likely include cuts to some — if not all — of the three agencies now under Goudeau’s purview.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13988903/san-francisco-appoints-matthew-goudeau-to-top-arts-job",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_74",
"arts_235",
"arts_70"
],
"tags": [
"arts_10278",
"arts_2555",
"arts_1300",
"arts_1879"
],
"featImg": "arts_13988913",
"label": "arts"
},
"arts_13986140": {
"type": "posts",
"id": "arts_13986140",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986140",
"score": null,
"sort": [
1770074161000
]
},
"guestAuthors": [],
"slug": "ralph-remington-director-of-cultural-affairs-retirement",
"title": "Ralph Remington to Step Down as SF’s Director of Cultural Affairs",
"publishDate": 1770074161,
"format": "standard",
"headTitle": "Ralph Remington to Step Down as SF’s Director of Cultural Affairs | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\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>[aside postID='arts_13986059']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>[ad fullwidth]\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",
"blocks": [],
"excerpt": "After five years in the city’s top arts position, Remington will step into an advisory capacity and retire.",
"status": "publish",
"parent": 0,
"modified": 1770080534,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 329
},
"headData": {
"title": "Ralph Remington to Step Down as SF’s Director of Cultural Affairs | KQED",
"description": "After five years in the city’s top arts position, Remington will step into an advisory capacity and retire.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ralph Remington to Step Down as SF’s Director of Cultural Affairs",
"datePublished": "2026-02-02T15:16:01-08:00",
"dateModified": "2026-02-02T17:02:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13986140",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13986140/ralph-remington-director-of-cultural-affairs-retirement",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13986059",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986140/ralph-remington-director-of-cultural-affairs-retirement",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_10278",
"arts_1300"
],
"featImg": "arts_13986154",
"label": "arts"
},
"arts_13986059": {
"type": "posts",
"id": "arts_13986059",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986059",
"score": null,
"sort": [
1769728811000
]
},
"guestAuthors": [],
"slug": "arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf",
"title": "Against a Backdrop of Closures, SF Creates a New Top Arts Job",
"publishDate": 1769728811,
"format": "standard",
"headTitle": "Against a Backdrop of Closures, SF Creates a New Top Arts Job | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Mayor Lurie will merge the city’s three arts agencies under a new executive director.",
"status": "publish",
"parent": 0,
"modified": 1769728811,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1038
},
"headData": {
"title": "Lurie Announces New Top Arts Job Amid More Closures | KQED",
"description": "Mayor Lurie will merge the city’s three arts agencies under a new executive director.",
"ogTitle": "Against a Backdrop of Closures, SF Creates a New Top Arts Job",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Against a Backdrop of Closures, SF Creates a New Top Arts Job",
"twDescription": "",
"twImgId": "",
"socialTitle": "Lurie Announces New Top Arts Job Amid More Closures %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Against a Backdrop of Closures, SF Creates a New Top Arts Job",
"datePublished": "2026-01-29T15:20:11-08:00",
"dateModified": "2026-01-29T15:20:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13986059",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_12071507",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/MissionCulturalCenterElTec4.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf",
"authors": [
"61"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10278",
"arts_2555",
"arts_1300"
],
"featImg": "arts_13986078",
"label": "arts"
},
"arts_13982175": {
"type": "posts",
"id": "arts_13982175",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13982175",
"score": null,
"sort": [
1759950039000
]
},
"guestAuthors": [],
"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?",
"publishDate": 1759950039,
"format": "aside",
"headTitle": "Who Has a Say in the Flood of Public Art Coming to San Francisco? | KQED",
"labelTerm": {},
"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",
"blocks": [],
"excerpt": "The Sijbrandij Foundation’s plan to install 100 pieces of large-scale art around the city needs public oversight.",
"status": "publish",
"parent": 0,
"modified": 1759950069,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 32,
"wordCount": 2071
},
"headData": {
"title": "The Big Art Loop Needs Public Oversight | KQED",
"description": "The Sijbrandij Foundation’s plan to install 100 pieces of large-scale art around the city needs public oversight.",
"ogTitle": "Who Has a Say In the Flood of Public Art Coming to San Francisco?",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Who Has a Say In the Flood of Public Art Coming to San Francisco?",
"twDescription": "",
"twImgId": "",
"socialTitle": "The Big Art Loop Needs Public Oversight %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Who Has a Say in the Flood of Public Art Coming to San Francisco?",
"datePublished": "2025-10-08T12:00:39-07:00",
"dateModified": "2025-10-08T12:01:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "Commentary",
"sticky": false,
"nprStoryId": "kqed-13982175",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13982175/big-art-loop-sijbrandij-foundation-san-francisco-public-art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13981940",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_12055275",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938291",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13982175/big-art-loop-sijbrandij-foundation-san-francisco-public-art",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_2303",
"arts_235"
],
"tags": [
"arts_1335",
"arts_10342",
"arts_10278",
"arts_10422",
"arts_2628",
"arts_1300"
],
"featImg": "arts_13982187",
"label": "source_arts_13982175"
},
"arts_13930404": {
"type": "posts",
"id": "arts_13930404",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13930404",
"score": null,
"sort": [
1686593065000
]
},
"guestAuthors": [],
"slug": "drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub",
"title": "D’Arcy Drollinger, Nation’s First Drag Laureate, Boosts SF Pride",
"publishDate": 1686593065,
"format": "standard",
"headTitle": "D’Arcy Drollinger, Nation’s First Drag Laureate, Boosts SF Pride | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "The club owner, artist and newly elected government official is setting an example for potential drag laureates everywhere.",
"status": "publish",
"parent": 0,
"modified": 1726771103,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 940
},
"headData": {
"title": "Drag Laureate D’Arcy Drollinger Boosts San Francisco Pride | KQED",
"description": "The club owner, artist and newly elected government official is setting an example for potential drag laureates everywhere.",
"ogTitle": "D'Arcy Drollinger, Nation's First Drag Laureate, Boosts SF Pride",
"ogDescription": "",
"ogImgId": "",
"twTitle": "D'Arcy Drollinger, Nation's First Drag Laureate, Boosts SF Pride",
"twDescription": "",
"twImgId": "",
"socialTitle": "Drag Laureate D’Arcy Drollinger Boosts San Francisco Pride %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "D’Arcy Drollinger, Nation’s First Drag Laureate, Boosts SF Pride",
"datePublished": "2023-06-12T11:04:25-07:00",
"dateModified": "2024-09-19T11:38:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Chloe Veltman",
"nprByline": "Chloe Veltman",
"nprImageAgency": "NPR",
"nprStoryId": "1180901952",
"nprApiLink": "http://api.npr.org/query?id=1180901952&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2023/06/12/1180901952/pride-san-francisco-drag-laureate?ft=nprml&f=1180901952",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 12 Jun 2023 09:56:00 -0400",
"nprStoryDate": "Mon, 12 Jun 2023 05:00:32 -0400",
"nprLastModifiedDate": "Mon, 12 Jun 2023 09:56:30 -0400",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13883181",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13835007",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13834837",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub",
"authors": [
"byline_arts_13930404"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1556",
"arts_10278",
"arts_3226",
"arts_4953",
"arts_10555",
"arts_1300"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13930405",
"label": "arts_137"
},
"arts_13929636": {
"type": "posts",
"id": "arts_13929636",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13929636",
"score": null,
"sort": [
1685034035000
]
},
"guestAuthors": [],
"slug": "sfac-james-baldwin-mark-harris",
"title": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay",
"publishDate": 1685034035,
"format": "audio",
"headTitle": "At SFAC, a Soulful Exploration of James Baldwin’s Legacy in the Bay | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Artist Mark Harris curates a powerful exhibition inspired by the writer and activist's 1963 visit to SF.",
"status": "publish",
"parent": 0,
"modified": 1726758606,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 342
},
"headData": {
"title": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay | KQED",
"description": "Artist Mark Harris curates a powerful exhibition inspired by the writer and activist's 1963 visit to SF.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay",
"datePublished": "2023-05-25T10:00:35-07:00",
"dateModified": "2024-09-19T08:10:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/2efbe4a3-6fe4-410c-9734-b007010b7395/audio.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13929636/sfac-james-baldwin-mark-harris",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13929636/sfac-james-baldwin-mark-harris",
"authors": [
"11296"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_3087",
"arts_1300",
"arts_1879",
"arts_585",
"arts_699",
"arts_901"
],
"featImg": "arts_13929662",
"label": "arts_140"
},
"arts_13920940": {
"type": "posts",
"id": "arts_13920940",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920940",
"score": null,
"sort": [
1666832021000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1666832021,
"format": "standard",
"title": "The New Southeast Community Center Is Filled With Art and Promise",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 839,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705006221,
"excerpt": "The new complex at Evans and Third pays homage to the activists who fought against environmental injustice.",
"headData": {
"twImgId": "",
"twTitle": "The New Southeast Community Center Is Filled With Art and Promise",
"socialTitle": "A New Art-Filled Southeast Community Center Opens in Bayview %%page%% %%sep%% KQED",
"ogTitle": "The New Southeast Community Center Is Filled With Art and Promise",
"ogImgId": "",
"twDescription": "",
"description": "The new complex at Evans and Third pays homage to the activists who fought against environmental injustice.",
"title": "A New Art-Filled Southeast Community Center Opens in Bayview | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The New Southeast Community Center Is Filled With Art and Promise",
"datePublished": "2022-10-26T17:53:41-07:00",
"dateModified": "2024-01-11T12:50:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-southeast-community-center-bayview-art-sfac-sfpuc",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903231",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11927434",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc",
"authors": [
"61"
],
"categories": [
"arts_1"
],
"tags": [
"arts_4018",
"arts_10342",
"arts_4017",
"arts_1300",
"arts_1879"
],
"featImg": "arts_13920947",
"label": "arts"
},
"arts_13919897": {
"type": "posts",
"id": "arts_13919897",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13919897",
"score": null,
"sort": [
1664564303000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1664564303,
"format": "audio",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1079,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705006313,
"excerpt": "The impeccably dressed SF icon has raised over $1 million for queer housing, healthcare and other causes.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The impeccably dressed SF icon has raised over $1 million for queer housing, healthcare and other causes.",
"title": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag",
"datePublished": "2022-09-30T11:58:23-07:00",
"dateModified": "2024-01-11T12:51:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "san-francisco-arts-commission-juanita-more-30-years",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/2bfd5fb7-6cfa-4714-abe2-af4001490845/audio.mp3",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13919897/san-francisco-arts-commission-juanita-more-30-years",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "food_1337260",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13919897/san-francisco-arts-commission-juanita-more-30-years",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1556",
"arts_10278",
"arts_2215",
"arts_3226",
"arts_18754",
"arts_4640",
"arts_1300",
"arts_585"
],
"featImg": "arts_13919910",
"label": "arts_140"
},
"arts_13889000": {
"type": "posts",
"id": "arts_13889000",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13889000",
"score": null,
"sort": [
1604700897000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1604700897,
"format": "standard",
"title": "There's a New Director of Cultural Affairs in San Francisco",
"headTitle": "There’s a New Director of Cultural Affairs in San Francisco | KQED",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 416,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705019877,
"excerpt": "Ralph Remington will lead the San Francisco Arts Commission in overseeing public art, grants, commissions and exhibitions. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ralph Remington will lead the San Francisco Arts Commission in overseeing public art, grants, commissions and exhibitions. ",
"title": "There's a New Director of Cultural Affairs in San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There's a New Director of Cultural Affairs in San Francisco",
"datePublished": "2020-11-06T14:14:57-08:00",
"dateModified": "2024-01-11T16:37:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "theres-a-new-director-of-cultural-affairs-in-san-francisco",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_2303",
"arts_235",
"arts_70"
],
"tags": [
"arts_2767",
"arts_5206",
"arts_1300",
"arts_1879"
],
"featImg": "arts_13889003",
"label": "arts"
},
"arts_13884238": {
"type": "posts",
"id": "arts_13884238",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884238",
"score": null,
"sort": [
1596511049000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1596511049,
"format": "audio",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 876,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705020338,
"excerpt": "In a lengthy meeting, city officials paused the selection process for a monument to Maya Angelou. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In a lengthy meeting, city officials paused the selection process for a monument to Maya Angelou. ",
"title": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument",
"datePublished": "2020-08-03T20:17:29-07:00",
"dateModified": "2024-01-11T16:45:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2020/08/VeltmanAngelouDelay.mp3",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13883431,arts_13870742,news_11794018",
"label": "public art in sf "
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CC32JF5B3yJ/"
},
"numeric": []
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument",
"authors": [
"8608",
"61"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10278",
"arts_5206",
"arts_1680",
"arts_2628",
"arts_1300",
"arts_1879"
],
"featImg": "arts_13870771",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"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",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"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",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"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": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"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.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"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": {
"site": "news",
"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",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"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",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"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",
"imageAlt": "KQED Perspectives",
"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",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=san-francisco-arts-commission": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 19,
"relation": "eq"
},
"items": [
"arts_13993605",
"arts_13991360",
"arts_13988903",
"arts_13986140",
"arts_13986059",
"arts_13982175",
"arts_13930404",
"arts_13929636",
"arts_13920940",
"arts_13919897",
"arts_13889000",
"arts_13884238"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_san-francisco-arts-commission": {
"isLoading": true
},
"arts_1300": {
"type": "terms",
"id": "arts_1300",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1300",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Arts Commission",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Arts Commission Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1312,
"slug": "san-francisco-arts-commission",
"isLoading": false,
"link": "/arts/tag/san-francisco-arts-commission"
},
"source_arts_13993605": {
"type": "terms",
"id": "source_arts_13993605",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13982175": {
"type": "terms",
"id": "source_arts_13982175",
"meta": {
"override": true
},
"name": "Commentary",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_2654": {
"type": "terms",
"id": "arts_2654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinatown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinatown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2666,
"slug": "chinatown",
"isLoading": false,
"link": "/arts/tag/chinatown"
},
"arts_3835": {
"type": "terms",
"id": "arts_3835",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3835",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinese culture center",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinese culture center Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3847,
"slug": "chinese-culture-center",
"isLoading": false,
"link": "/arts/tag/chinese-culture-center"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_2628": {
"type": "terms",
"id": "arts_2628",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2628",
"found": true
},
"relationships": {},
"name": "Public Art",
"slug": "public-art",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Public Art | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2640,
"isLoading": false,
"link": "/arts/tag/public-art"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_10422": {
"type": "terms",
"id": "arts_10422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10434,
"slug": "featured-news",
"isLoading": false,
"link": "/arts/tag/featured-news"
},
"arts_3934": {
"type": "terms",
"id": "arts_3934",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3934",
"found": true
},
"relationships": {},
"featImg": null,
"name": "monuments",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "monuments Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3946,
"slug": "monuments",
"isLoading": false,
"link": "/arts/tag/monuments"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_2555": {
"type": "terms",
"id": "arts_2555",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2555",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grants for the Arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grants for the Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2567,
"slug": "grants-for-the-arts",
"isLoading": false,
"link": "/arts/tag/grants-for-the-arts"
},
"arts_1879": {
"type": "terms",
"id": "arts_1879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sfac",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sfac Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1891,
"slug": "sfac",
"isLoading": false,
"link": "/arts/tag/sfac"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_1335": {
"type": "terms",
"id": "arts_1335",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1335",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Burning Man",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Burning Man Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1347,
"slug": "burning-man",
"isLoading": false,
"link": "/arts/tag/burning-man"
},
"arts_1556": {
"type": "terms",
"id": "arts_1556",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1556",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drag",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drag Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1568,
"slug": "drag",
"isLoading": false,
"link": "/arts/tag/drag"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_4953": {
"type": "terms",
"id": "arts_4953",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4953",
"found": true
},
"relationships": {},
"featImg": null,
"name": "london breed",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "london breed Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4965,
"slug": "london-breed",
"isLoading": false,
"link": "/arts/tag/london-breed"
},
"arts_10555": {
"type": "terms",
"id": "arts_10555",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10555",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oasis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oasis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10567,
"slug": "oasis",
"isLoading": false,
"link": "/arts/tag/oasis"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_3087": {
"type": "terms",
"id": "arts_3087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "james baldwin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "james baldwin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3099,
"slug": "james-baldwin",
"isLoading": false,
"link": "/arts/tag/james-baldwin"
},
"arts_699": {
"type": "terms",
"id": "arts_699",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "699",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 710,
"slug": "thedolist-featured",
"isLoading": false,
"link": "/arts/tag/thedolist-featured"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_4018": {
"type": "terms",
"id": "arts_4018",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4018",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bayview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bayview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4030,
"slug": "bayview",
"isLoading": false,
"link": "/arts/tag/bayview"
},
"arts_4017": {
"type": "terms",
"id": "arts_4017",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4017",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hunters point",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hunters point Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4029,
"slug": "hunters-point",
"isLoading": false,
"link": "/arts/tag/hunters-point"
},
"arts_2215": {
"type": "terms",
"id": "arts_2215",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2215",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Juanita More",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Juanita More Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2227,
"slug": "juanita-more",
"isLoading": false,
"link": "/arts/tag/juanita-more"
},
"arts_18754": {
"type": "terms",
"id": "arts_18754",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18754",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Marcel Pardo Ariza",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marcel Pardo Ariza Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18766,
"slug": "marcel-pardo-ariza",
"isLoading": false,
"link": "/arts/tag/marcel-pardo-ariza"
},
"arts_4640": {
"type": "terms",
"id": "arts_4640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "queer",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "queer Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4652,
"slug": "queer",
"isLoading": false,
"link": "/arts/tag/queer"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_5206": {
"type": "terms",
"id": "arts_5206",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5206",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lava thomas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lava thomas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5218,
"slug": "lava-thomas",
"isLoading": false,
"link": "/arts/tag/lava-thomas"
},
"arts_1680": {
"type": "terms",
"id": "arts_1680",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1680",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Maya Angelou",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Maya Angelou Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1692,
"slug": "maya-angelou",
"isLoading": false,
"link": "/arts/tag/maya-angelou"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}