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"content": "\u003cfigure id=\"attachment_13982183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg\" alt=\"collage of sculptures superimposed over city skyline\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation’s Big Art Loop, created by artists Dana Albany, Marco Cochrane, Peter Hazel, El Nino, Mathias Gmachl, Kristen Berg, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. \u003ccite>(Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People who make \u003ca href=\"https://www.kqed.org/arts/tag/public-art\">public art\u003c/a> are the first to tell you that it is not a speedy process.\u003c/p>\n\u003cp>It took eight long years for Jesse Schlesinger’s \u003ci>\u003ca href=\"https://kiosk.sfartscommission.org/objects-1/info?query=_ID%20%3D%20%22ALL%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22%20and%20Disp_Maker_1%20%3D%20%22Jesse%20Schlesinger%22&sort=7&objectName=Cover%20Record:%20Pacific%20Transit\">Pacific Transit\u003c/a>\u003c/i> to come to fruition in the Outer Sunset neighborhood, where the San Francisco Arts Commission installed his 10 bronze, stone and cast-concrete sculptures in February.\u003c/p>\n\u003cp>“As challenging as those years were — and on occasion they intensely pushed the limits of my patience and were totally exasperating,” he says, “in the end, and what kept me at it, was that I would be afforded the opportunity to make work of this scale.”\u003c/p>\n\u003cp>With the SFAC commission came requirements for permanence and durability in a coastal environment. Both he and SFAC staff worked hard to reach out to and get buy-in from the neighborhood’s residents and small businesses, who in turn helped keep the project alive during the years of delays.\u003c/p>\n\u003cfigure id=\"attachment_13982179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg\" alt=\"cast bronze driftwood, round stone and concrete plinths on city street\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three of the 10 pieces in Jesse Schlesinger’s ‘Pacific Transit,’ 2024; Bronze and stone on concrete at Judah and the Great Highway. \u003ccite>(Photo by Ethan Kaplan; Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast, the \u003ca href=\"https://sijbrandijfoundation.org/public-big-art\">Sijbrandij Foundation\u003c/a> has managed to place temporary public art around San Francisco with great speed. Since late 2024, the nonprofit established by billionaire Sid Sijbrandij, co-founder of GitLab, has funded eight pieces of “big art,” and plans to install another dozen along San Francisco’s eastern waterfront by the end of 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13981940']Last week, the foundation and \u003ca href=\"https://www.instagram.com/p/DPPoC-QkjDk/?hl=en\">Mayor Daniel Lurie\u003c/a> announced the launch of a “\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Big Art Loop\u003c/a>” around the city, aiming to install up to 100 pieces of temporary large-scale public art over the next three years. Many of those pieces, inevitably, will be leftovers from Burning Man. “We’re fans of big art in general,” Sijbrandij told KQED, “but of course, yes, in San Francisco, a lot of the big art people make does visit Burning Man.”\u003c/p>\n\u003cp>With this project, the Sijbrandij Foundation and the art agency Building 180, which oversees curation and operations, will radically alter the aesthetic and physical landscape of San Francisco. And they’ll do it with little to no oversight from the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/Public-ArtCivic-Art-Collection#2.%20Charter\">arts commission tasked by our city charter\u003c/a> with the approval of all public artworks.\u003c/p>\n\u003cp>In other words: A billionaire aims to display 100 pieces of large-scale art around the city, which he’s allowed to do simply because he’s paying for it. And the city of San Francisco isn’t saying no to him.\u003c/p>\n\u003cfigure id=\"attachment_13981941\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg\" alt=\"recycled metal sculpture of mermaid on waterfront\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dana Albany’s ‘Coralee,’ installed at San Francisco Pier 1/2 as part of the Big Art Loop. \u003ccite>(Arianna Cunha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Time to consider that public process’\u003c/h2>\n\u003cp>To be clear, the Sijbrandij Foundation and Building 180 have gone about the Big Art Loop project through legal channels, completely by the book. The project’s first temporary art installations at \u003ca href=\"https://www.kqed.org/arts/13973169/temporary-public-art-great-highway-ocean-beach-plans\">Sunset Dunes\u003c/a>, in \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=2339\">Golden Gate Park\u003c/a> and at \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">Embarcadero Plaza\u003c/a> were all accomplished in partnership with the Recreation and Parks department, and passed through the Art Commission for approval.\u003c/p>\n\u003cp>The newest Sijbrandij-funded installation, Dana Albany’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Coralee\u003c/a>\u003c/i>, a recycled metal and glass mermaid, is situated at Pier ½, on Port of San Francisco property. It and the 11 pieces to come, stretching from Fisherman’s Wharf to Heron’s Head Park, were approved by the Port’s executive director, per the Port’s Public Art Program.\u003c/p>\n\u003cp>But just because the Big Art Loop team has found a way to install large-scale sculpture in public spaces by going through city agencies that \u003ci>don’t\u003c/i> specialize in art, doesn’t mean it should.\u003c/p>\n\u003cp>Sijbrandij told KQED that the project was partially inspired by how much big art is \u003ci>not\u003c/i> on display. “It gets built, these amazing pieces, and they’re sitting around in storage,” he said. “When I learned that, I was like, ‘Let’s get them out of storage and get them into the city so that they can enrich people’s days.’”\u003c/p>\n\u003cp>Jill Manton, a public art professional and the former director of the SFAC’s Public Art Trust and Special Initiatives, believes the city could use more temporary public art. “I think there’s great benefits on many levels,” she told KQED, “to introducing art to the public in a way that they don’t feel like, ‘Wow, I don’t really love this. I have to live with it forever.’”\u003c/p>\n\u003cp>Manton wrote the 2012 legislation that created the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-fact-sheet\">Public Art Trust\u003c/a>, which allows private developers to put their \u003ca href=\"https://sfplanning.org/privately-owned-public-open-space-and-public-art\">1%-for-art requirement\u003c/a> into a funding pool in lieu of installing publicly accessible art themselves. The trust can pay for temporary or permanent public art, for the conservation of the Civic Art Collection, or can be made available to eligible cultural nonprofits for public-facing programs or capital improvements.\u003c/p>\n\u003cfigure id=\"attachment_13982181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg\" alt=\"large bronze of young woman in jogging gear in front of ferry building\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas J. Price’s ‘As Sounds Turn to Noise’ photographed in front of the San Francisco Ferry Building on July 14, 2024. \u003ccite>(Scott Strazzante/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most recently, the trust paid for the temporary installation of Thomas J. Price’s \u003ci>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/nine-foot-bronze-sculpture-internationally-renowned-artist\">As Sounds Turn to Noise\u003c/a>\u003c/i>, a 9-foot-tall statue of a young Black woman in jogging gear, right where \u003ci>Coralee\u003c/i> is now placed. It’s worth noting that Price’s piece, loaned by Hauser & Wirth gallery, wouldn’t meet the size requirements of the Big Art Loop, which wants work over 10 feet in height or width. The Big Art Loop is not going for subtlety; it seeks to interrupt the visual landscape and stop people in their tracks.\u003c/p>\n\u003cp>[aside postID='news_12055275']Manton says she didn’t get to install nearly as much temporary public artwork as she would have liked during her tenure. Certain established sites in the city — the Civic Center, Patricia’s Green in Hayes Valley — have been the most common destinations for temporary sculpture. She also explains that many of the pieces the SFAC installed over the years did not go through a period of public feedback, due to their temporary nature. “For better or worse,” she says, “we didn’t hold open public meetings about the next big project coming to Civic Center.”\u003c/p>\n\u003cp>“Now when I hear about a program like the Big Art Loop, where they’ve mapped out multiple locations, I think it’s time to consider that public process,” Manton says. “Because it’s not an occasional, every few years, every five years or something like that. It’s occurring with regular frequency now.”\u003c/p>\n\u003cp>Schlesinger shares that sentiment. “I wish that some of these [Big Art Loop pieces] were going through the vetting process that I went through,” he says, even if these works are only installed for six months to a year. With the massive volume of artwork planned, “It just feels a little bit like a slippery slope.”\u003c/p>\n\u003cfigure id=\"attachment_13974425\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg\" alt=\"giant metal mesh sculpture of nude woman in front of SF Ferry Building, crowd below\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for the April 10, 2025 press preview of ‘R-Evolution, a 45-foot metal statue created by Petaluma artist Marco Cochrane, installed at Embarcadero Plaza in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re already witnessing that slippery slope. Marco Cochrane’s \u003ci>R-Evolution\u003c/i> was placed in Embarcadero Plaza in April for a period of six months, with the option to extend its installation up to a year. The piece was quietly extended by Recreation and Parks through March 2026, as first reported by \u003ca href=\"https://sfstandard.com/2025/09/30/embaracadero-naked-lady-statue-extension-march-2026/\">SF Standard\u003c/a>. A city spokesperson told KQED it could stay for even longer, pending approval by Recreation and Parks and the SFAC.\u003c/p>\n\u003cp>Meanwhile, the Building 180 team says securing public buy-in for Big Art Loop installations has been a challenge. “What we would love to learn from you is how do we get more feedback from the community?” the Building 180 account wrote to this reporter over Instagram. “No one shows up to commission meetings or community meetings anymore, we do outreach, flyers, show up to panels and no one responds. Except on social media?”\u003c/p>\n\u003cp>One agency that does have experience in this regard is — you guessed it — the SFAC.\u003c/p>\n\u003ch2>We don’t have to reinvent the wheel\u003c/h2>\n\u003cp>When the SFAC is involved in a piece of public art, a staff of arts professionals — trained curators, many of them — works with community members and neighborhood groups to spread the word about the project. An ad hoc review panel that includes project stakeholders evaluates proposals. The mayoral-appointed Visual Arts Committee and ultimately the full Arts Commission weigh in. And most importantly, an announced period of public feedback allows for in-person and written comment.\u003c/p>\n\u003cp>[aside postID='arts_13938291']In the case of the renovation of the Chinatown Public Health Center, rigorous outreach via community groups was crucial to the decision to \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">remove Patti Bowler’s 1970 \u003ci>Dragon Relief\u003c/i>\u003c/a> from the building’s Broadway-facing façade — a sculpture that, incidentally, was installed without any say-so from the neighborhood’s residents.\u003c/p>\n\u003cp>Could the Sijbrandij Foundation direct its Big Art Loop funding to the Public Art Trust, earmark it for large-scale temporary sculpture and let the SFAC do what they do best? Manton says that unfortunately, the Public Art Trust isn’t currently set up to receive private donations — just funds from eligible private developers. But there’s no reason that legislation couldn’t change.\u003c/p>\n\u003cp>She also points to \u003ca href=\"https://www.sfartscommission.org/get-involved/donate\">ArtCare\u003c/a>, a nonprofit that can receive donations towards the upkeep of the Civic Art Collection. Such funds helped restore Keith Haring’s \u003ci>Untitled (Three Dancing Figures)\u003c/i> in 2012 outside Moscone Center. Perhaps its scope could be expanded to receive funds from the Sijbrandij Foundation for temporary public artworks.\u003c/p>\n\u003cp>If Mayor Lurie really wants to make the Big Art Loop a successful public-private partnership, why not utilize existing city expertise and remunerate city staffers for their time in the process? The only downsides I can think of are that the project might move slower (not necessarily a bad thing) and Building 180 wouldn’t get to pick all the art.\u003c/p>\n\u003cfigure id=\"attachment_13974428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of the San Francisco Arts Commission, Recreation and Parks, the Port of San Francisco, Building 180 and, at center, model Deja Solis and artist Marco Cochrane imitate the pose of ‘R-Evolution’ at Embarcadero Plaza. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, we have private money funding large-scale art of its own choosing in some of San Francisco’s most iconic public spaces. The Big Art Loop, unlike the SFAC, is not tasked with the responsibility of displaying artworks that reflect “diversity in style, scale, media, and artistic sources as well as diverse cultural communities and perspectives.” The Big Art Loop looks for existing work only, which artists created with their own funds or fundraised towards — a prohibitive up-front expense for so many.\u003c/p>\n\u003cp>What happens when the Big Art Loop runs out of Port and Recreation and Parks properties to place its 100 pieces on? For the loop to be truly equitable, it needs to spread its gift of temporary public art beyond established scenic destinations.\u003c/p>\n\u003cp>As for the public’s role as the recipient of these gifts — let your appreciation or criticisms of this project be known in tangible ways. Email or call \u003ca href=\"https://sfrecpark.org/415/Contact-Us\">Recreation and Parks\u003c/a>, the \u003ca href=\"https://www.sfport.com/contactus\">Port of San Francisco\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/contact\">SFAC\u003c/a>, \u003ca href=\"https://building180.com/contact\">Building 180\u003c/a> \u003ci>and\u003c/i> the \u003ca href=\"mailto:foundation@sijbrandijfoundation.org\" target=\"_blank\" rel=\"noopener\">Sijbrandij Foundation\u003c/a>. Tell them what you think of the Big Art Loop, which will be occupying your public space for the next three years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Oct. 7: A previous version of this story mis-titled Jesse Schlesinger’s public artwork.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg\" alt=\"collage of sculptures superimposed over city skyline\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation’s Big Art Loop, created by artists Dana Albany, Marco Cochrane, Peter Hazel, El Nino, Mathias Gmachl, Kristen Berg, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. \u003ccite>(Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People who make \u003ca href=\"https://www.kqed.org/arts/tag/public-art\">public art\u003c/a> are the first to tell you that it is not a speedy process.\u003c/p>\n\u003cp>It took eight long years for Jesse Schlesinger’s \u003ci>\u003ca href=\"https://kiosk.sfartscommission.org/objects-1/info?query=_ID%20%3D%20%22ALL%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22%20and%20Disp_Maker_1%20%3D%20%22Jesse%20Schlesinger%22&sort=7&objectName=Cover%20Record:%20Pacific%20Transit\">Pacific Transit\u003c/a>\u003c/i> to come to fruition in the Outer Sunset neighborhood, where the San Francisco Arts Commission installed his 10 bronze, stone and cast-concrete sculptures in February.\u003c/p>\n\u003cp>“As challenging as those years were — and on occasion they intensely pushed the limits of my patience and were totally exasperating,” he says, “in the end, and what kept me at it, was that I would be afforded the opportunity to make work of this scale.”\u003c/p>\n\u003cp>With the SFAC commission came requirements for permanence and durability in a coastal environment. Both he and SFAC staff worked hard to reach out to and get buy-in from the neighborhood’s residents and small businesses, who in turn helped keep the project alive during the years of delays.\u003c/p>\n\u003cfigure id=\"attachment_13982179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg\" alt=\"cast bronze driftwood, round stone and concrete plinths on city street\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three of the 10 pieces in Jesse Schlesinger’s ‘Pacific Transit,’ 2024; Bronze and stone on concrete at Judah and the Great Highway. \u003ccite>(Photo by Ethan Kaplan; Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast, the \u003ca href=\"https://sijbrandijfoundation.org/public-big-art\">Sijbrandij Foundation\u003c/a> has managed to place temporary public art around San Francisco with great speed. Since late 2024, the nonprofit established by billionaire Sid Sijbrandij, co-founder of GitLab, has funded eight pieces of “big art,” and plans to install another dozen along San Francisco’s eastern waterfront by the end of 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last week, the foundation and \u003ca href=\"https://www.instagram.com/p/DPPoC-QkjDk/?hl=en\">Mayor Daniel Lurie\u003c/a> announced the launch of a “\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Big Art Loop\u003c/a>” around the city, aiming to install up to 100 pieces of temporary large-scale public art over the next three years. Many of those pieces, inevitably, will be leftovers from Burning Man. “We’re fans of big art in general,” Sijbrandij told KQED, “but of course, yes, in San Francisco, a lot of the big art people make does visit Burning Man.”\u003c/p>\n\u003cp>With this project, the Sijbrandij Foundation and the art agency Building 180, which oversees curation and operations, will radically alter the aesthetic and physical landscape of San Francisco. And they’ll do it with little to no oversight from the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/Public-ArtCivic-Art-Collection#2.%20Charter\">arts commission tasked by our city charter\u003c/a> with the approval of all public artworks.\u003c/p>\n\u003cp>In other words: A billionaire aims to display 100 pieces of large-scale art around the city, which he’s allowed to do simply because he’s paying for it. And the city of San Francisco isn’t saying no to him.\u003c/p>\n\u003cfigure id=\"attachment_13981941\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg\" alt=\"recycled metal sculpture of mermaid on waterfront\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dana Albany’s ‘Coralee,’ installed at San Francisco Pier 1/2 as part of the Big Art Loop. \u003ccite>(Arianna Cunha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Time to consider that public process’\u003c/h2>\n\u003cp>To be clear, the Sijbrandij Foundation and Building 180 have gone about the Big Art Loop project through legal channels, completely by the book. The project’s first temporary art installations at \u003ca href=\"https://www.kqed.org/arts/13973169/temporary-public-art-great-highway-ocean-beach-plans\">Sunset Dunes\u003c/a>, in \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=2339\">Golden Gate Park\u003c/a> and at \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">Embarcadero Plaza\u003c/a> were all accomplished in partnership with the Recreation and Parks department, and passed through the Art Commission for approval.\u003c/p>\n\u003cp>The newest Sijbrandij-funded installation, Dana Albany’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Coralee\u003c/a>\u003c/i>, a recycled metal and glass mermaid, is situated at Pier ½, on Port of San Francisco property. It and the 11 pieces to come, stretching from Fisherman’s Wharf to Heron’s Head Park, were approved by the Port’s executive director, per the Port’s Public Art Program.\u003c/p>\n\u003cp>But just because the Big Art Loop team has found a way to install large-scale sculpture in public spaces by going through city agencies that \u003ci>don’t\u003c/i> specialize in art, doesn’t mean it should.\u003c/p>\n\u003cp>Sijbrandij told KQED that the project was partially inspired by how much big art is \u003ci>not\u003c/i> on display. “It gets built, these amazing pieces, and they’re sitting around in storage,” he said. “When I learned that, I was like, ‘Let’s get them out of storage and get them into the city so that they can enrich people’s days.’”\u003c/p>\n\u003cp>Jill Manton, a public art professional and the former director of the SFAC’s Public Art Trust and Special Initiatives, believes the city could use more temporary public art. “I think there’s great benefits on many levels,” she told KQED, “to introducing art to the public in a way that they don’t feel like, ‘Wow, I don’t really love this. I have to live with it forever.’”\u003c/p>\n\u003cp>Manton wrote the 2012 legislation that created the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-fact-sheet\">Public Art Trust\u003c/a>, which allows private developers to put their \u003ca href=\"https://sfplanning.org/privately-owned-public-open-space-and-public-art\">1%-for-art requirement\u003c/a> into a funding pool in lieu of installing publicly accessible art themselves. The trust can pay for temporary or permanent public art, for the conservation of the Civic Art Collection, or can be made available to eligible cultural nonprofits for public-facing programs or capital improvements.\u003c/p>\n\u003cfigure id=\"attachment_13982181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg\" alt=\"large bronze of young woman in jogging gear in front of ferry building\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas J. Price’s ‘As Sounds Turn to Noise’ photographed in front of the San Francisco Ferry Building on July 14, 2024. \u003ccite>(Scott Strazzante/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most recently, the trust paid for the temporary installation of Thomas J. Price’s \u003ci>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/nine-foot-bronze-sculpture-internationally-renowned-artist\">As Sounds Turn to Noise\u003c/a>\u003c/i>, a 9-foot-tall statue of a young Black woman in jogging gear, right where \u003ci>Coralee\u003c/i> is now placed. It’s worth noting that Price’s piece, loaned by Hauser & Wirth gallery, wouldn’t meet the size requirements of the Big Art Loop, which wants work over 10 feet in height or width. The Big Art Loop is not going for subtlety; it seeks to interrupt the visual landscape and stop people in their tracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Manton says she didn’t get to install nearly as much temporary public artwork as she would have liked during her tenure. Certain established sites in the city — the Civic Center, Patricia’s Green in Hayes Valley — have been the most common destinations for temporary sculpture. She also explains that many of the pieces the SFAC installed over the years did not go through a period of public feedback, due to their temporary nature. “For better or worse,” she says, “we didn’t hold open public meetings about the next big project coming to Civic Center.”\u003c/p>\n\u003cp>“Now when I hear about a program like the Big Art Loop, where they’ve mapped out multiple locations, I think it’s time to consider that public process,” Manton says. “Because it’s not an occasional, every few years, every five years or something like that. It’s occurring with regular frequency now.”\u003c/p>\n\u003cp>Schlesinger shares that sentiment. “I wish that some of these [Big Art Loop pieces] were going through the vetting process that I went through,” he says, even if these works are only installed for six months to a year. With the massive volume of artwork planned, “It just feels a little bit like a slippery slope.”\u003c/p>\n\u003cfigure id=\"attachment_13974425\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg\" alt=\"giant metal mesh sculpture of nude woman in front of SF Ferry Building, crowd below\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for the April 10, 2025 press preview of ‘R-Evolution, a 45-foot metal statue created by Petaluma artist Marco Cochrane, installed at Embarcadero Plaza in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re already witnessing that slippery slope. Marco Cochrane’s \u003ci>R-Evolution\u003c/i> was placed in Embarcadero Plaza in April for a period of six months, with the option to extend its installation up to a year. The piece was quietly extended by Recreation and Parks through March 2026, as first reported by \u003ca href=\"https://sfstandard.com/2025/09/30/embaracadero-naked-lady-statue-extension-march-2026/\">SF Standard\u003c/a>. A city spokesperson told KQED it could stay for even longer, pending approval by Recreation and Parks and the SFAC.\u003c/p>\n\u003cp>Meanwhile, the Building 180 team says securing public buy-in for Big Art Loop installations has been a challenge. “What we would love to learn from you is how do we get more feedback from the community?” the Building 180 account wrote to this reporter over Instagram. “No one shows up to commission meetings or community meetings anymore, we do outreach, flyers, show up to panels and no one responds. Except on social media?”\u003c/p>\n\u003cp>One agency that does have experience in this regard is — you guessed it — the SFAC.\u003c/p>\n\u003ch2>We don’t have to reinvent the wheel\u003c/h2>\n\u003cp>When the SFAC is involved in a piece of public art, a staff of arts professionals — trained curators, many of them — works with community members and neighborhood groups to spread the word about the project. An ad hoc review panel that includes project stakeholders evaluates proposals. The mayoral-appointed Visual Arts Committee and ultimately the full Arts Commission weigh in. And most importantly, an announced period of public feedback allows for in-person and written comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the case of the renovation of the Chinatown Public Health Center, rigorous outreach via community groups was crucial to the decision to \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">remove Patti Bowler’s 1970 \u003ci>Dragon Relief\u003c/i>\u003c/a> from the building’s Broadway-facing façade — a sculpture that, incidentally, was installed without any say-so from the neighborhood’s residents.\u003c/p>\n\u003cp>Could the Sijbrandij Foundation direct its Big Art Loop funding to the Public Art Trust, earmark it for large-scale temporary sculpture and let the SFAC do what they do best? Manton says that unfortunately, the Public Art Trust isn’t currently set up to receive private donations — just funds from eligible private developers. But there’s no reason that legislation couldn’t change.\u003c/p>\n\u003cp>She also points to \u003ca href=\"https://www.sfartscommission.org/get-involved/donate\">ArtCare\u003c/a>, a nonprofit that can receive donations towards the upkeep of the Civic Art Collection. Such funds helped restore Keith Haring’s \u003ci>Untitled (Three Dancing Figures)\u003c/i> in 2012 outside Moscone Center. Perhaps its scope could be expanded to receive funds from the Sijbrandij Foundation for temporary public artworks.\u003c/p>\n\u003cp>If Mayor Lurie really wants to make the Big Art Loop a successful public-private partnership, why not utilize existing city expertise and remunerate city staffers for their time in the process? The only downsides I can think of are that the project might move slower (not necessarily a bad thing) and Building 180 wouldn’t get to pick all the art.\u003c/p>\n\u003cfigure id=\"attachment_13974428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of the San Francisco Arts Commission, Recreation and Parks, the Port of San Francisco, Building 180 and, at center, model Deja Solis and artist Marco Cochrane imitate the pose of ‘R-Evolution’ at Embarcadero Plaza. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, we have private money funding large-scale art of its own choosing in some of San Francisco’s most iconic public spaces. The Big Art Loop, unlike the SFAC, is not tasked with the responsibility of displaying artworks that reflect “diversity in style, scale, media, and artistic sources as well as diverse cultural communities and perspectives.” The Big Art Loop looks for existing work only, which artists created with their own funds or fundraised towards — a prohibitive up-front expense for so many.\u003c/p>\n\u003cp>What happens when the Big Art Loop runs out of Port and Recreation and Parks properties to place its 100 pieces on? For the loop to be truly equitable, it needs to spread its gift of temporary public art beyond established scenic destinations.\u003c/p>\n\u003cp>As for the public’s role as the recipient of these gifts — let your appreciation or criticisms of this project be known in tangible ways. Email or call \u003ca href=\"https://sfrecpark.org/415/Contact-Us\">Recreation and Parks\u003c/a>, the \u003ca href=\"https://www.sfport.com/contactus\">Port of San Francisco\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/contact\">SFAC\u003c/a>, \u003ca href=\"https://building180.com/contact\">Building 180\u003c/a> \u003ci>and\u003c/i> the \u003ca href=\"mailto:foundation@sijbrandijfoundation.org\" target=\"_blank\" rel=\"noopener\">Sijbrandij Foundation\u003c/a>. Tell them what you think of the Big Art Loop, which will be occupying your public space for the next three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Oct. 7: A previous version of this story mis-titled Jesse Schlesinger’s public artwork.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "D’Arcy Drollinger, Nation’s First Drag Laureate, Boosts SF Pride",
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"content": "\u003cp>Getting \u003ca href=\"https://www.darcydrollinger.com/\">D’Arcy Drollinger\u003c/a> ready for her first official appearance as San Francisco drag laureate was a production.\u003c/p>\n\u003cp>The artist, night club owner and newly appointed government official stood in the living room of her San Francisco apartment as two helpers grappled with a set of bejeweled, custom-made artificial nails and wedged her into a pair of white patent stilettos and a tight, pink skirt suit. Finally, Drollinger stepped out of the house, and into a very busy schedule.\u003c/p>\n\u003cp>“I am speaking at the San Francisco Arts Commission,” Drollinger said. “I’m also on the same day speaking at the Entertainment Commission. I’m also going to speak at a high school. I’ll be in the parade with the mayor.”\u003c/p>\n\u003cp>The word “laureate” is most often attached to the winner of a Nobel Prize, or a poet whose job it is to mark official occasions in verse. But a “drag laureate” is something new.\u003c/p>\n\u003cfigure id=\"attachment_13930406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe\" alt=\"A drag queen in a blond wig sits before a stage makeup mirror, lipstick in hand. She is pouting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger applies lipstick at her apartment in preparation for her inaugural appearance as San Francisco drag laureate. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s LGBTQ task-force proposed the creation of the \u003ca href=\"https://sf.gov/drag-laureate-program\">drag laureate position\u003c/a> around three years ago during the darkest days of the COVID-19 pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve been through a really hard time,” said San Francisco Mayor London Breed a few days ahead of the flag-raising ceremony that’s the kick-off to the city’s annual \u003ca href=\"https://sfpride.org/\">Pride celebration\u003c/a>. And so to city officials, a drag laureate seemed to be — if not a cure, at least something of a panacea, thanks to “the creativity, the joy that a drag laureate brings.”\u003c/p>\n\u003cp>[aside postid='arts_13883181']Breed said one of Drollinger’s selling points as a candidate for the job, which comes with an 18-month term and $55,000 stipend, was her track record as a spreader of sparkle.\u003c/p>\n\u003cp>The nightclub owner pivoted during lockdown to run a food delivery service — “Meals on Heels” — out of \u003ca href=\"https://www.sfoasis.com/\">Oasis\u003c/a>, the drag club she owns in downtown San Francisco. Performers in drag from Oasis delivered meals and cocktails to local residents, with a side order of curb-side lip-synching.\u003c/p>\n\u003cp>“It brought a lot of love and excitement,” Breed said of Drollinger’s drag performance-infused food delivery service.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oBWRRwJk-jc\u003c/p>\n\u003cp>But Breed said the recent attacks against drag performers, as well as a \u003ca href=\"https://www.npr.org/2023/02/08/1151731736/at-least-10-state-legislatures-trying-restrict-criminalize-drag-shows\">rise in anti-drag legislation\u003c/a> in different parts of the country, now make the appointment of a drag laureate particularly crucial.\u003c/p>\n\u003cp>“In some of those communities where something like this wouldn’t be considered acceptable behavior, there’s a kid that’s thinking, ‘Oh my goodness: she’s like me. I can be myself without fear,'” Breed said.\u003c/p>\n\u003cp>LGBTQ activists around the country are working to fight a slew of anti-drag laws currently under consideration in various states.\u003c/p>\n\u003cp>“It’s scary right now,” said Kylo Freeman, CEO and founder of \u003ca href=\"https://www.forthem.com/\">For Them\u003c/a>, a trans-owned brand that makes apparel for transgender people, and the force behind “Drag is Divine,” an advertising campaign that aims to raise awareness and funding to help fight anti-drag laws. “The backlash is real.”\u003c/p>\n\u003cfigure id=\"attachment_13930407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930407\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg\" alt='A drag king and queen recline together in a tropical green space. Next to them is the text: \"So hot they started a culture war for us.\"' width=\"800\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1536x672.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712.jpg 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Drag is Divine” advertising campaign poster. \u003ccite>(For Them)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman said they’re excited to see local governments highlight drag culture in such a visible way. In West Hollywood, \u003ca href=\"https://www.weho.org/community/arts-and-culture/drag-laureate\">officials plan to appoint a drag laureate\u003c/a> later this month.\u003c/p>\n\u003cp>[aside postid='arts_13835007']“I think it’s a real step forward to have these roles in place, giving us folks that can speak on behalf of the community at a large scale,” Freeman said.\u003c/p>\n\u003cp>But \u003ca href=\"https://legistar.council.nyc.gov/LegislationDetail.aspx?ID=5656533&GUID=5C982F50-33A6-4C4D-A4C3-1AA2F5CE2754\">plans to create a drag laureate in New York\u003c/a>, where Freeman is based, have stalled. And Freeman said they don’t see similar positions cropping up in parts of the country that are less friendly to LGBTQ people anytime soon.\u003c/p>\n\u003cp>“We are so politicized right now,” Freeman said. “And I think we’ve forgotten that this is just a human rights issue.”\u003c/p>\n\u003cp>At the San Francisco Pride kickoff, Drollinger not only assisted the mayor in the traditional unfurling of the Pride flag outside City Hall — she also posed for photos, dispensed hugs and made her first official speech as drag laureate.\u003c/p>\n\u003cfigure id=\"attachment_13930408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe\" alt=\"A drag queen in a pink and white suit stands at a podium and speaks, with a Black woman in a white suit to her right, and a white man in a grey suit to her lift. A series of flag poles are visible lined up behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger delivers her inaugural speech as drag laureate flanked by California State Senator Scott Wiener, left, and San Francisco Mayor London Breed. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drag is many things,” said Drollinger before the crowd of assembled dignitaries and members of the local LGBTQ community. “Drag is art. Drag is activism. Drag is joy. Drag is instrumental to bringing people together. Drag is fabulous.”\u003c/p>\n\u003cp>[aside postid='arts_13834837']Afterward, Drollinger cheerfully admitted to not feeling quite prepared to meet the demands of her new job. For instance, being on one’s feet at long-winded civic functions isn’t super compatible with the wearing of three-inch stilettos.\u003c/p>\n\u003cp>“I’ll have to rethink my heels,” she said.\u003c/p>\n\u003cp>But the nation’s first ever drag laureate said she’s willing to improvise: “Sometimes you have to lip sync to whatever song gets turned on.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nation%27s+first+%27drag+laureate%27+kicks+off+Pride+in+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Getting \u003ca href=\"https://www.darcydrollinger.com/\">D’Arcy Drollinger\u003c/a> ready for her first official appearance as San Francisco drag laureate was a production.\u003c/p>\n\u003cp>The artist, night club owner and newly appointed government official stood in the living room of her San Francisco apartment as two helpers grappled with a set of bejeweled, custom-made artificial nails and wedged her into a pair of white patent stilettos and a tight, pink skirt suit. Finally, Drollinger stepped out of the house, and into a very busy schedule.\u003c/p>\n\u003cp>“I am speaking at the San Francisco Arts Commission,” Drollinger said. “I’m also on the same day speaking at the Entertainment Commission. I’m also going to speak at a high school. I’ll be in the parade with the mayor.”\u003c/p>\n\u003cp>The word “laureate” is most often attached to the winner of a Nobel Prize, or a poet whose job it is to mark official occasions in verse. But a “drag laureate” is something new.\u003c/p>\n\u003cfigure id=\"attachment_13930406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe\" alt=\"A drag queen in a blond wig sits before a stage makeup mirror, lipstick in hand. She is pouting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger applies lipstick at her apartment in preparation for her inaugural appearance as San Francisco drag laureate. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s LGBTQ task-force proposed the creation of the \u003ca href=\"https://sf.gov/drag-laureate-program\">drag laureate position\u003c/a> around three years ago during the darkest days of the COVID-19 pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve been through a really hard time,” said San Francisco Mayor London Breed a few days ahead of the flag-raising ceremony that’s the kick-off to the city’s annual \u003ca href=\"https://sfpride.org/\">Pride celebration\u003c/a>. And so to city officials, a drag laureate seemed to be — if not a cure, at least something of a panacea, thanks to “the creativity, the joy that a drag laureate brings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Breed said one of Drollinger’s selling points as a candidate for the job, which comes with an 18-month term and $55,000 stipend, was her track record as a spreader of sparkle.\u003c/p>\n\u003cp>The nightclub owner pivoted during lockdown to run a food delivery service — “Meals on Heels” — out of \u003ca href=\"https://www.sfoasis.com/\">Oasis\u003c/a>, the drag club she owns in downtown San Francisco. Performers in drag from Oasis delivered meals and cocktails to local residents, with a side order of curb-side lip-synching.\u003c/p>\n\u003cp>“It brought a lot of love and excitement,” Breed said of Drollinger’s drag performance-infused food delivery service.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oBWRRwJk-jc'\n title='//www.youtube.com/embed/oBWRRwJk-jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Breed said the recent attacks against drag performers, as well as a \u003ca href=\"https://www.npr.org/2023/02/08/1151731736/at-least-10-state-legislatures-trying-restrict-criminalize-drag-shows\">rise in anti-drag legislation\u003c/a> in different parts of the country, now make the appointment of a drag laureate particularly crucial.\u003c/p>\n\u003cp>“In some of those communities where something like this wouldn’t be considered acceptable behavior, there’s a kid that’s thinking, ‘Oh my goodness: she’s like me. I can be myself without fear,'” Breed said.\u003c/p>\n\u003cp>LGBTQ activists around the country are working to fight a slew of anti-drag laws currently under consideration in various states.\u003c/p>\n\u003cp>“It’s scary right now,” said Kylo Freeman, CEO and founder of \u003ca href=\"https://www.forthem.com/\">For Them\u003c/a>, a trans-owned brand that makes apparel for transgender people, and the force behind “Drag is Divine,” an advertising campaign that aims to raise awareness and funding to help fight anti-drag laws. “The backlash is real.”\u003c/p>\n\u003cfigure id=\"attachment_13930407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930407\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg\" alt='A drag king and queen recline together in a tropical green space. Next to them is the text: \"So hot they started a culture war for us.\"' width=\"800\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1536x672.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712.jpg 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Drag is Divine” advertising campaign poster. \u003ccite>(For Them)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman said they’re excited to see local governments highlight drag culture in such a visible way. In West Hollywood, \u003ca href=\"https://www.weho.org/community/arts-and-culture/drag-laureate\">officials plan to appoint a drag laureate\u003c/a> later this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s a real step forward to have these roles in place, giving us folks that can speak on behalf of the community at a large scale,” Freeman said.\u003c/p>\n\u003cp>But \u003ca href=\"https://legistar.council.nyc.gov/LegislationDetail.aspx?ID=5656533&GUID=5C982F50-33A6-4C4D-A4C3-1AA2F5CE2754\">plans to create a drag laureate in New York\u003c/a>, where Freeman is based, have stalled. And Freeman said they don’t see similar positions cropping up in parts of the country that are less friendly to LGBTQ people anytime soon.\u003c/p>\n\u003cp>“We are so politicized right now,” Freeman said. “And I think we’ve forgotten that this is just a human rights issue.”\u003c/p>\n\u003cp>At the San Francisco Pride kickoff, Drollinger not only assisted the mayor in the traditional unfurling of the Pride flag outside City Hall — she also posed for photos, dispensed hugs and made her first official speech as drag laureate.\u003c/p>\n\u003cfigure id=\"attachment_13930408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe\" alt=\"A drag queen in a pink and white suit stands at a podium and speaks, with a Black woman in a white suit to her right, and a white man in a grey suit to her lift. A series of flag poles are visible lined up behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger delivers her inaugural speech as drag laureate flanked by California State Senator Scott Wiener, left, and San Francisco Mayor London Breed. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drag is many things,” said Drollinger before the crowd of assembled dignitaries and members of the local LGBTQ community. “Drag is art. Drag is activism. Drag is joy. Drag is instrumental to bringing people together. Drag is fabulous.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Afterward, Drollinger cheerfully admitted to not feeling quite prepared to meet the demands of her new job. For instance, being on one’s feet at long-winded civic functions isn’t super compatible with the wearing of three-inch stilettos.\u003c/p>\n\u003cp>“I’ll have to rethink my heels,” she said.\u003c/p>\n\u003cp>But the nation’s first ever drag laureate said she’s willing to improvise: “Sometimes you have to lip sync to whatever song gets turned on.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nation%27s+first+%27drag+laureate%27+kicks+off+Pride+in+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay",
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"content": "\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag",
"headTitle": "A New SFAC Exhibit Celebrates Juanita MORE!’s Dazzling 30 Years in Drag | KQED",
"content": "\u003cp>There are fashion queens, sex-positive entertainers and political provocateurs, but few drag performers embody all the dimensions of the artform as seamlessly and with as much panache as \u003ca href=\"https://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a>.\u003c/p>\n\u003cp>A true San Francisco icon, she’s been practicing the art of drag for 30 years, and her impact extends far beyond her glamor. Over the past three decades, she’s raised over $1 million for queer housing and healthcare, campaigned for political causes and thrown too many parties to count. To celebrate, the San Francisco Arts Commission (SFAC) Main Gallery has a new exhibition dedicated to her life and work called \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Juanita: 30 Years of MORE!\u003c/i>\u003c/a>, on view Sept. 30-Nov. 12.\u003c/p>\n\u003cp>“Often we don’t see a lot of exhibitions about key figures in the queer and trans communities while they’re still alive, while they’re still doing the work,” says curator Marcel Pardo Ariza. “It’s important that we find the space to highlight folks who are gathering people together through art, though dancing, through meals together in a way that we find incredibly nurturing.” [aside postid='food_1337260']\u003c/p>\n\u003cp>For the exhibition, MORE! opened her treasure troves of gowns, her personal archives and her art collection, and worked with Pardo Ariza to tell a story—her autobiography, but also a story of queer San Francisco.\u003c/p>\n\u003cp>That story begins on Halloween 1992, when MORE!’s drag mother, Glamamore, dressed her in leopard print and sent her out on the town. That first night in drag, MORE! had such a ball that she wanted to do it again. “I ran around and partied my ass off that first year and just had fun,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She could lip sync and entertain on par with the top divas in the city, and soon, her impact grew beyond the bar and club scene. “Something clicked and I said, ‘Oh, I need to use this energy that’s coming at me and give back for something good,” MORE! says.\u003c/p>\n\u003cp>The AIDS epidemic had ravaged the LGBTQ+ community in the ’80s, and although treatment became available in the ’90s, the deadly crisis persisted. MORE! threw her first benefit for TARC, the \u003ca href=\"https://www.poz.com/article/Tenderloin-HIV-Closes-21753-2492\" target=\"_blank\" rel=\"noopener noreferrer\">Tenderloin AIDS Resource Center\u003c/a>. And in the 30 years since, she has thrown dozens of events that raised funds for organizations such as the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Q Foundation\u003c/a>, which provides housing support for people living with HIV/AIDS; the \u003ca href=\"https://transgenderlawcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender Law Center\u003c/a>, a trans-led legal organization; and \u003ca href=\"https://www.queerlifespace.org/our-mission\" target=\"_blank\" rel=\"noopener noreferrer\">Queer LifeSpace\u003c/a>, an affordable mental health counseling center.\u003c/p>\n\u003cfigure id=\"attachment_13919913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore3-800x533.jpg\" alt=\"Juanita MORE! wears a leopard gown with big shoulders and a blond wig in front of a large, colorful poster with tropical designs and a multicolored, layered silk gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! poses with her San Francisco Pride 2022 poster and Mr. David Couture gown, on display at the SFAC Main Gallery. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glitzy parties—like her annual Pride celebration—are often how MORE! inspires people to give to good causes, but her activism doesn’t stop there. She can be seen rallying for political issues (recently, she spoke out against the recall of progressive District Attorney Chesa Boudin). And her personal website has basically become a one-stop shop for Bay Area residents who want to become more civically engaged. She authors her own \u003ca href=\"https://juanitamore.com/vote\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides\u003c/a> (the 2022 midterm edition is coming soon), rounds up \u003ca href=\"https://juanitamore.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">queer events\u003c/a> and publishes lists of \u003ca href=\"https://juanitamore.com/mentalhealthresources\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ+ mental health resources\u003c/a> and \u003ca href=\"https://juanitamore.com/queer-bizness\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore6-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entryway of ‘Juanita: 30 Years of MORE!’ features dozens of portraits of MORE! from various eras and by different artists. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with MORE!’s hectic schedule of campaigning and entertaining, impeccable attention to detail—from the coif of her wig to the last rhinestone on her heel—has been a defining feature of her brand. Glamamore, known as \u003ca href=\"https://www.instagram.com/mr.davidglamamore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. David\u003c/a> when not in drag, has been MORE!’s \u003ca href=\"https://48hills.org/2016/05/mr-david-gives-us-definitive-sf-style/\" target=\"_blank\" rel=\"noopener noreferrer\">principal fashion designer\u003c/a> for her entire career. She’s never worn anything other than custom garments made specially for her.\u003c/p>\n\u003cp>The sumptuous couture Mr. David created for MORE! over the past 30 years—sometimes on a tight budget, but always with Paris Fashion Week-worthy skill—makes for a mesmerizing display inside the SFAC gallery, which also features event posters, awards, portraits of MORE! and her own original (and often erotic) photography.\u003c/p>\n\u003cfigure id=\"attachment_13919914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore5-800x549.jpg\" alt=\"Colorful hats feature silk bunny ears, turquoise feathers, translucent veils and more.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display of Juanita MORE!’s many hats, designed by Mr. David Couture. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I really enjoy is we can do anything—she can wear anything, she can pull off any look,” Mr. David says at the exhibition preview, standing next to the regal, balloon-sleeved gown, cape and headdress he made for MORE! for SF Pride 2019. He’s made clothing for stars like Cher and Deee-Lite’s Lady Miss Kier, but it’s his collaboration with MORE! that’s been the most rewarding. “It’s this constant challenge. ‘We have $30, let’s make a ball gown.’ It’s not expensive things, but how do we make what we have look very extravagant? It’s enticing, our whole dynamic. I inspire her, she inspires me. We’re on this spiral together.”\u003c/p>\n\u003cp>That collaborative spirit extended to how MORE! approached the exhibition at SFAC. For her and curator Pardo Ariza, preserving history is part of a higher purpose to leave a legacy for the next generation of queer and trans youth, and to pay homage to the intergenerational community of artists who’ve made Juanita MORE! so original.\u003c/p>\n\u003cp>“I think the thing that I love the most is that I’ve never claimed to be the one who created Juanita by myself,” MORE! says. “I was the vehicle that brought it to life. But there were a lot of people collaborating to make this thing that we created as fun or crazy or pretty as possible. … I’m a big champion of artists and have collaborated with so many artists, and that’s just always brought me so much joy.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita: 30 Years of MORE!\u003c/a> \u003cem>is on view in the SFAC Main Gallery in the War Memorial Veterans Building Sept. 30-Nov. 12, with an opening reception on Sept. 30 at 6pm. Events will continue throughout the run of the show, with a \u003ca href=\"https://sfartscommission.org/calendar/more-imposters\" target=\"_blank\" rel=\"noopener noreferrer\">drag performance on Oct. 6\u003c/a>, a \u003ca href=\"https://sfartscommission.org/calendar/naked-dinner-life-drawing-class\" target=\"_blank\" rel=\"noopener noreferrer\">nude figure drawing class on Oct. 12\u003c/a> and \u003ca href=\"https://sfartscommission.org/calendar/juanita-more-birthday-bash\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!’s birthday bash on Oct. 28\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are fashion queens, sex-positive entertainers and political provocateurs, but few drag performers embody all the dimensions of the artform as seamlessly and with as much panache as \u003ca href=\"https://juanitamore.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a>.\u003c/p>\n\u003cp>A true San Francisco icon, she’s been practicing the art of drag for 30 years, and her impact extends far beyond her glamor. Over the past three decades, she’s raised over $1 million for queer housing and healthcare, campaigned for political causes and thrown too many parties to count. To celebrate, the San Francisco Arts Commission (SFAC) Main Gallery has a new exhibition dedicated to her life and work called \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Juanita: 30 Years of MORE!\u003c/i>\u003c/a>, on view Sept. 30-Nov. 12.\u003c/p>\n\u003cp>“Often we don’t see a lot of exhibitions about key figures in the queer and trans communities while they’re still alive, while they’re still doing the work,” says curator Marcel Pardo Ariza. “It’s important that we find the space to highlight folks who are gathering people together through art, though dancing, through meals together in a way that we find incredibly nurturing.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the exhibition, MORE! opened her treasure troves of gowns, her personal archives and her art collection, and worked with Pardo Ariza to tell a story—her autobiography, but also a story of queer San Francisco.\u003c/p>\n\u003cp>That story begins on Halloween 1992, when MORE!’s drag mother, Glamamore, dressed her in leopard print and sent her out on the town. That first night in drag, MORE! had such a ball that she wanted to do it again. “I ran around and partied my ass off that first year and just had fun,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She could lip sync and entertain on par with the top divas in the city, and soon, her impact grew beyond the bar and club scene. “Something clicked and I said, ‘Oh, I need to use this energy that’s coming at me and give back for something good,” MORE! says.\u003c/p>\n\u003cp>The AIDS epidemic had ravaged the LGBTQ+ community in the ’80s, and although treatment became available in the ’90s, the deadly crisis persisted. MORE! threw her first benefit for TARC, the \u003ca href=\"https://www.poz.com/article/Tenderloin-HIV-Closes-21753-2492\" target=\"_blank\" rel=\"noopener noreferrer\">Tenderloin AIDS Resource Center\u003c/a>. And in the 30 years since, she has thrown dozens of events that raised funds for organizations such as the \u003ca href=\"https://theqfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Q Foundation\u003c/a>, which provides housing support for people living with HIV/AIDS; the \u003ca href=\"https://transgenderlawcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender Law Center\u003c/a>, a trans-led legal organization; and \u003ca href=\"https://www.queerlifespace.org/our-mission\" target=\"_blank\" rel=\"noopener noreferrer\">Queer LifeSpace\u003c/a>, an affordable mental health counseling center.\u003c/p>\n\u003cfigure id=\"attachment_13919913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore3-800x533.jpg\" alt=\"Juanita MORE! wears a leopard gown with big shoulders and a blond wig in front of a large, colorful poster with tropical designs and a multicolored, layered silk gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE! poses with her San Francisco Pride 2022 poster and Mr. David Couture gown, on display at the SFAC Main Gallery. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Glitzy parties—like her annual Pride celebration—are often how MORE! inspires people to give to good causes, but her activism doesn’t stop there. She can be seen rallying for political issues (recently, she spoke out against the recall of progressive District Attorney Chesa Boudin). And her personal website has basically become a one-stop shop for Bay Area residents who want to become more civically engaged. She authors her own \u003ca href=\"https://juanitamore.com/vote\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides\u003c/a> (the 2022 midterm edition is coming soon), rounds up \u003ca href=\"https://juanitamore.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">queer events\u003c/a> and publishes lists of \u003ca href=\"https://juanitamore.com/mentalhealthresources\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ+ mental health resources\u003c/a> and \u003ca href=\"https://juanitamore.com/queer-bizness\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore6-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entryway of ‘Juanita: 30 Years of MORE!’ features dozens of portraits of MORE! from various eras and by different artists. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with MORE!’s hectic schedule of campaigning and entertaining, impeccable attention to detail—from the coif of her wig to the last rhinestone on her heel—has been a defining feature of her brand. Glamamore, known as \u003ca href=\"https://www.instagram.com/mr.davidglamamore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. David\u003c/a> when not in drag, has been MORE!’s \u003ca href=\"https://48hills.org/2016/05/mr-david-gives-us-definitive-sf-style/\" target=\"_blank\" rel=\"noopener noreferrer\">principal fashion designer\u003c/a> for her entire career. She’s never worn anything other than custom garments made specially for her.\u003c/p>\n\u003cp>The sumptuous couture Mr. David created for MORE! over the past 30 years—sometimes on a tight budget, but always with Paris Fashion Week-worthy skill—makes for a mesmerizing display inside the SFAC gallery, which also features event posters, awards, portraits of MORE! and her own original (and often erotic) photography.\u003c/p>\n\u003cfigure id=\"attachment_13919914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/juanitamore5-800x549.jpg\" alt=\"Colorful hats feature silk bunny ears, turquoise feathers, translucent veils and more.\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/juanitamore5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display of Juanita MORE!’s many hats, designed by Mr. David Couture. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What I really enjoy is we can do anything—she can wear anything, she can pull off any look,” Mr. David says at the exhibition preview, standing next to the regal, balloon-sleeved gown, cape and headdress he made for MORE! for SF Pride 2019. He’s made clothing for stars like Cher and Deee-Lite’s Lady Miss Kier, but it’s his collaboration with MORE! that’s been the most rewarding. “It’s this constant challenge. ‘We have $30, let’s make a ball gown.’ It’s not expensive things, but how do we make what we have look very extravagant? It’s enticing, our whole dynamic. I inspire her, she inspires me. We’re on this spiral together.”\u003c/p>\n\u003cp>That collaborative spirit extended to how MORE! approached the exhibition at SFAC. For her and curator Pardo Ariza, preserving history is part of a higher purpose to leave a legacy for the next generation of queer and trans youth, and to pay homage to the intergenerational community of artists who’ve made Juanita MORE! so original.\u003c/p>\n\u003cp>“I think the thing that I love the most is that I’ve never claimed to be the one who created Juanita by myself,” MORE! says. “I was the vehicle that brought it to life. But there were a lot of people collaborating to make this thing that we created as fun or crazy or pretty as possible. … I’m a big champion of artists and have collaborated with so many artists, and that’s just always brought me so much joy.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/juanita-30-years-more-new-exhibition-celebrating-30th\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita: 30 Years of MORE!\u003c/a> \u003cem>is on view in the SFAC Main Gallery in the War Memorial Veterans Building Sept. 30-Nov. 12, with an opening reception on Sept. 30 at 6pm. Events will continue throughout the run of the show, with a \u003ca href=\"https://sfartscommission.org/calendar/more-imposters\" target=\"_blank\" rel=\"noopener noreferrer\">drag performance on Oct. 6\u003c/a>, a \u003ca href=\"https://sfartscommission.org/calendar/naked-dinner-life-drawing-class\" target=\"_blank\" rel=\"noopener noreferrer\">nude figure drawing class on Oct. 12\u003c/a> and \u003ca href=\"https://sfartscommission.org/calendar/juanita-more-birthday-bash\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!’s birthday bash on Oct. 28\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument",
"headTitle": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument | KQED",
"content": "\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>[aside postID=\"arts_13883431,arts_13870742,news_11794018\" label=\"public art in sf\"]So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CC32JF5B3yJ/\u003c/p>\n\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco on Monday launched a relief fund to provide grants and low-interest loans to artists and arts organizations impacted by the novel coronavirus. Funded by an initial $2.5 million from the city, the Arts Relief Program aims to offset the economic toll of a cultural sector with next to no revenue for the foreseeable future due to a statewide shelter-in-place order.\u003c/p>\n\u003cp>“We need to do everything we can to stabilize our arts community now,” San Francisco Mayor London Breed said in a statement, acknowledging the loss of jobs as museums, galleries and performing arts venues shut down indefinitely. “I hope our public investment will encourage private donors to join us in supporting our vulnerable artists during this challenging time.”[aside postid='science_1957877']\u003c/p>\n\u003cp>The program offers up to $2,000 grants to individual artists and teaching artists, prioritizing those serving black, indigenous, immigrant, transgender and disabled populations. Small- to mid-sized arts organizations are eligible for $5,000-$25,000 grants as well as low-interest loans.\u003c/p>\n\u003cp>No limits appear to be set on uses of individual grants. The organization grants, administered by the Center for Cultural Innovation, may be used to pay rent and salaries, retain employees and “to help keep artists and organizations in San Francisco,” according to the announcement. The loans will be administered by the extant Arts Loan Fund of Northern California Grantmakers.\u003c/p>\n\u003cp>The city is contributing $1.5 million to the grants category, and $1 million to the loan category. The announcement encourages philanthropies to donate to the fund to expand its impact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Arts Relief Program adds to a range of fundraisers and emergency grants for arts and nightlife figures. Musicians, dancers, actors and the many on-call or freelance workers who support the performing arts have found themselves out of work for practically an entire season. Many communities, such as \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\" target=\"_blank\" rel=\"noopener noreferrer\">classical musicians\u003c/a>, are crowdsourcing donations themselves.[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>Small- to mid-sized arts organizations, meanwhile, are grappling with lost income from rentals and ticket sales, and they’re anticipating reduced donations. Some are beginning to lay off employees. SOMArts, for example, has lost some $20,000 in rental revenue, and expects the number to climb to $100,000, 30 percent of its projected 2020 rental revenue, within months.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, a lighting designer and sound engineer, is disappointed the individual artist category doesn’t appear to have been created with freelance technical workers in mind. “We don’t get healthcare, we don’t get sick time and we don’t have anything to burn to make up for all of the lost gigs,” said de Arco, 26, who worked events regularly at venues such as Joe Goode Annex and Counterpulse. “It’s not obvious to me how we can access these funds.”\u003c/p>\n\u003cp>“San Francisco is defined by our vibrant arts and culture and we need to support this sector now more than ever,” Naomi Kelly, who runs SF’s Grants for the Arts agency, said in a statement. “Although this emergency has paused many live performances, we will do all we can to provide support to the artists and organizations who make them possible during this trying time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco also has a Give2SF Fund. Tax-deductible monetary contributions can be spent on various public efforts to respond to the coronavirus outbreak. As the Arts Relief Program announcement notes, the city is also soliciting donations of personal protective equipment for frontline health workers, cleaning supplies and technical equipment for telecommuting.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco on Monday launched a relief fund to provide grants and low-interest loans to artists and arts organizations impacted by the novel coronavirus. Funded by an initial $2.5 million from the city, the Arts Relief Program aims to offset the economic toll of a cultural sector with next to no revenue for the foreseeable future due to a statewide shelter-in-place order.\u003c/p>\n\u003cp>“We need to do everything we can to stabilize our arts community now,” San Francisco Mayor London Breed said in a statement, acknowledging the loss of jobs as museums, galleries and performing arts venues shut down indefinitely. “I hope our public investment will encourage private donors to join us in supporting our vulnerable artists during this challenging time.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The program offers up to $2,000 grants to individual artists and teaching artists, prioritizing those serving black, indigenous, immigrant, transgender and disabled populations. Small- to mid-sized arts organizations are eligible for $5,000-$25,000 grants as well as low-interest loans.\u003c/p>\n\u003cp>No limits appear to be set on uses of individual grants. The organization grants, administered by the Center for Cultural Innovation, may be used to pay rent and salaries, retain employees and “to help keep artists and organizations in San Francisco,” according to the announcement. The loans will be administered by the extant Arts Loan Fund of Northern California Grantmakers.\u003c/p>\n\u003cp>The city is contributing $1.5 million to the grants category, and $1 million to the loan category. The announcement encourages philanthropies to donate to the fund to expand its impact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Arts Relief Program adds to a range of fundraisers and emergency grants for arts and nightlife figures. Musicians, dancers, actors and the many on-call or freelance workers who support the performing arts have found themselves out of work for practically an entire season. Many communities, such as \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\" target=\"_blank\" rel=\"noopener noreferrer\">classical musicians\u003c/a>, are crowdsourcing donations themselves.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Small- to mid-sized arts organizations, meanwhile, are grappling with lost income from rentals and ticket sales, and they’re anticipating reduced donations. Some are beginning to lay off employees. SOMArts, for example, has lost some $20,000 in rental revenue, and expects the number to climb to $100,000, 30 percent of its projected 2020 rental revenue, within months.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, a lighting designer and sound engineer, is disappointed the individual artist category doesn’t appear to have been created with freelance technical workers in mind. “We don’t get healthcare, we don’t get sick time and we don’t have anything to burn to make up for all of the lost gigs,” said de Arco, 26, who worked events regularly at venues such as Joe Goode Annex and Counterpulse. “It’s not obvious to me how we can access these funds.”\u003c/p>\n\u003cp>“San Francisco is defined by our vibrant arts and culture and we need to support this sector now more than ever,” Naomi Kelly, who runs SF’s Grants for the Arts agency, said in a statement. “Although this emergency has paused many live performances, we will do all we can to provide support to the artists and organizations who make them possible during this trying time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco also has a Give2SF Fund. Tax-deductible monetary contributions can be spent on various public efforts to respond to the coronavirus outbreak. As the Arts Relief Program announcement notes, the city is also soliciting donations of personal protective equipment for frontline health workers, cleaning supplies and technical equipment for telecommuting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Had Right to Remove 'Early Days' Statue Deemed Racist, Judge Says",
"headTitle": "SF Had Right to Remove ‘Early Days’ Statue Deemed Racist, Judge Says | KQED",
"content": "\u003cp>A San Francisco Superior Court judge last week upheld the San Francisco Art Commission’s decision last year to remove the controversial Civic Center Plaza statue “Early Days,” rejecting a lawsuit alleging that the commission was “motivated by prejudice against people of European heritage and culture,” to unlawfully “desecrate … a piece of fine art.”\u003c/p>\n\u003cp>The plaintiffs alleged the arts commission illegally wasted public resources by removing the art solely on the justification that “it was racist and painful to Native Americans and those who shared the interpretation of it being racist and that its existence represented white supremacy.” \u003c/p>\n\u003cp>But Judge Cynthia Ming-mei Lee called that reason enough, citing city policies allowing for the removal of public art following “‘significant adverse public reaction over an extended period of time (five years or more),’” she wrote. \u003c/p>\n\u003cp>“Accordingly the SFAC had discretion to remove the statue based on racism and the Court may not interfere with its decision.” \u003c/p>\n\u003cfigure id=\"attachment_13840756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, San Francisco’s cultural affairs director and a defendant in the lawsuit, said in a statement the “decision affirms the Arts Commission’s authority to remove racist imagery from the public realm.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He continued, “This is an important victory for the Native American community and their allies who have fought for many years to see this historically inaccurate and racist depiction of indigenous people removed.”\u003c/p>\n\u003cp>The arts commission sought to remove “Early Days” from the Pioneer Monument sculptural group near City Hall after determining its depiction of a Native American kneeling beneath a Spanish vaquero and missionary was degrading and historically inaccurate. \u003c/p>\n\u003cp>Activists opposed the statue for decades, and calls for its removal escalated in 2017 amid a national movement against Confederate statues and other racist monuments. The arts commission voted to replace the “racist and disrespectful sculpture” with a didactic plaque. [aside postID=arts_13840748]\u003c/p>\n\u003cp>But Petaluma attorney Frear Stephen Schmid challenged the decision before the San Francisco Board of Appeals, calling its removal “tantamount to destruction” and akin to “taking the lips off the Mona Lisa.” The board ultimately rejected his argument, and the statue was removed last September.\u003c/p>\n\u003cp>Schmid, a white man, filed the lawsuit last November claiming the arts commission was “ethically [sic] and racially motivated in favor of one racial/ethnic group, Native Americans,” hence violating his civil rights by “by vilifying the artistic work, the European Catholic priest, [and] the Vaquero[.]” \u003c/p>\n\u003cp>But Schmid and co-plaintiff Patricia Briggs, the judge wrote, lacked standing to sue on civil-rights grounds because they “are not the artists of Pioneer Monument,” and called their claim that the statue’s removal was a violent act “unsupported by legal or statutory authority.” \u003c/p>\n\u003cp>Nor was the judge persuaded by plaintiffs’ argument that the statue’s removal violated the charitable and public trust doctrines, pointing out that the latter only applies to “the duty of the state to protect the people’s common heritage of streams, lakes, marshlands and tidelands[.]” \u003c/p>\n\u003cp>Schmid could not be reached for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last October, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\">voted to approve a measure\u003c/a> requiring broader representation of women in statues and other artworks on city-owned property. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A San Francisco Superior Court judge last week upheld the San Francisco Art Commission’s decision last year to remove the controversial Civic Center Plaza statue “Early Days,” rejecting a lawsuit alleging that the commission was “motivated by prejudice against people of European heritage and culture,” to unlawfully “desecrate … a piece of fine art.”\u003c/p>\n\u003cp>The plaintiffs alleged the arts commission illegally wasted public resources by removing the art solely on the justification that “it was racist and painful to Native Americans and those who shared the interpretation of it being racist and that its existence represented white supremacy.” \u003c/p>\n\u003cp>But Judge Cynthia Ming-mei Lee called that reason enough, citing city policies allowing for the removal of public art following “‘significant adverse public reaction over an extended period of time (five years or more),’” she wrote. \u003c/p>\n\u003cp>“Accordingly the SFAC had discretion to remove the statue based on racism and the Court may not interfere with its decision.” \u003c/p>\n\u003cfigure id=\"attachment_13840756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, San Francisco’s cultural affairs director and a defendant in the lawsuit, said in a statement the “decision affirms the Arts Commission’s authority to remove racist imagery from the public realm.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He continued, “This is an important victory for the Native American community and their allies who have fought for many years to see this historically inaccurate and racist depiction of indigenous people removed.”\u003c/p>\n\u003cp>The arts commission sought to remove “Early Days” from the Pioneer Monument sculptural group near City Hall after determining its depiction of a Native American kneeling beneath a Spanish vaquero and missionary was degrading and historically inaccurate. \u003c/p>\n\u003cp>Activists opposed the statue for decades, and calls for its removal escalated in 2017 amid a national movement against Confederate statues and other racist monuments. The arts commission voted to replace the “racist and disrespectful sculpture” with a didactic plaque. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Petaluma attorney Frear Stephen Schmid challenged the decision before the San Francisco Board of Appeals, calling its removal “tantamount to destruction” and akin to “taking the lips off the Mona Lisa.” The board ultimately rejected his argument, and the statue was removed last September.\u003c/p>\n\u003cp>Schmid, a white man, filed the lawsuit last November claiming the arts commission was “ethically [sic] and racially motivated in favor of one racial/ethnic group, Native Americans,” hence violating his civil rights by “by vilifying the artistic work, the European Catholic priest, [and] the Vaquero[.]” \u003c/p>\n\u003cp>But Schmid and co-plaintiff Patricia Briggs, the judge wrote, lacked standing to sue on civil-rights grounds because they “are not the artists of Pioneer Monument,” and called their claim that the statue’s removal was a violent act “unsupported by legal or statutory authority.” \u003c/p>\n\u003cp>Nor was the judge persuaded by plaintiffs’ argument that the statue’s removal violated the charitable and public trust doctrines, pointing out that the latter only applies to “the duty of the state to protect the people’s common heritage of streams, lakes, marshlands and tidelands[.]” \u003c/p>\n\u003cp>Schmid could not be reached for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last October, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\">voted to approve a measure\u003c/a> requiring broader representation of women in statues and other artworks on city-owned property. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"title": "Selected Shorts",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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