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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Matthew Goudeau, current chief development officer for \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a>, will soon become San Francisco’s first executive director of arts and culture. The new top arts job, created by Mayor Daniel Lurie, will oversee three of the city’s arts agencies: the San Francisco Arts Commission, Grants for the Arts and the Film Commission.\u003c/p>\n\u003cp>Goudeau has a lengthy history in the city’s arts and political circles. He started out in 1999 as an intern in the Mayor’s Office of Protocol under then-Mayor Willie Brown. Over the past 26 years, Goudeau has worked in various city agencies and at arts nonprofits, including Grants for the Arts, 500 Capp Street and the Chinati Foundation in Marfa, Texas. Before starting at YBCA in June 2025, Goudeau was Lurie’s deputy chief of staff.\u003c/p>\n\u003cfigure id=\"attachment_13988906\" class=\"wp-caption alignright\" style=\"max-width: 605px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2.jpeg\" alt=\"white man with glasses smiles\" width=\"605\" height=\"800\" class=\"size-full wp-image-13988906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2.jpeg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Image-2-160x212.jpeg 160w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goudeau comes to the role from Yerba Buena Center for the Arts, where he has served as chief development officer for just under a year. \u003ccite>(City of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The search for an executive director of arts and culture was announced \u003ca href=\"https://www.kqed.org/arts/13986059/arts-culture-executive-director-san-francisco-lurie-sfac-gfta-film-sf\">in late January\u003c/a>, against a backdrop of devastating closures in the city’s arts sector, including the beloved Mission Cultural Center for Latino Arts and California College of the Arts, the region’s last remaining nonprofit art school. Members of the arts community called for the city to step up during what many saw as a “\u003ca href=\"https://www.kqed.org/arts/13986534/somarts-artists-live-here-community-meeting-sf\">state of emergency\u003c/a>.”\u003c/p>\n\u003cp>Goudeau was selected after a three-month search process, during which the city received 259 applications. According to today’s announcement, community input pushed the search towards an arts leader with local roots.\u003c/p>\n\u003cp>“Matthew is a truly excellent choice for this new arts leadership position,” Rachelle Axel, executive director of Artists for a Better Bay Area, said in today’s announcement. “Our arts community has been holding a lot of anxiety because of many uncertainties in the sector, largely centered on the city’s role in the arts ecosystem. This hire was among the top concerns, and now we can cross it off our list.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new role is \u003ca href=\"https://www.sf.gov/news-mayor-lurie-advances-reimagined-citywide-arts-and-culture-strategy-to-support-san-franciscos-recovery\">a complex one\u003c/a>. In addition to overseeing the SFAC, GFTA and Film SF, Goudeau will serve as the mayor’s “principal advisor on policies that advance San Francisco’s creative economy, cultural equity and preservation, and public arts programming,” according to January’s job announcement.\u003c/p>\n\u003cp>Goudeau’s hiring comes just weeks after 127 city employees across 18 departments \u003ca href=\"https://www.kqed.org/news/12079126/more-layoffs-ahead-as-san-franciscos-budget-woes-persist\">received layoff notices\u003c/a>, as Mayor Lurie attempts to reduce salary and benefit spending by $100 million. In total, the mayor intends to eliminate a total of \u003ca href=\"https://www.kqed.org/news/12075213/san-francisco-mayor-daniel-lurie-looks-to-eliminate-500-city-jobs\">500 jobs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The mayor’s new budget, due June 1, will likely include cuts to some — if not all — of the three agencies now under Goudeau’s purview.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Five months after the installation of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">R-Evolution\u003c/a>\u003c/i>, the giant metal sculpture of a nude woman in Embarcadero Plaza, and just two months since the appearance of the sea-serpent \u003ci>Naga\u003c/i> in Golden Gate Park, the \u003ca href=\"https://sijbrandijfoundation.org/\">Sijbrandij Foundation\u003c/a> has unveiled the latest piece of “big art” in San Francisco.\u003c/p>\n\u003cp>[aside postID='arts_13982175']\u003ci>\u003ca href=\"https://www.danaalbanyart.com/coralee\">Coralee\u003c/a>\u003c/i>, an 18-foot-long mermaid made from recycled metal and glass by Bay Area artist Dana Albany, is now installed at the Port of San Francisco’s Pier ½ through September 2026. Made at Chatsworth House in Derbyshire, England for the exhibition \u003ci>Radical Horizons: The Art of Burning Man\u003c/i>, the sculpture is, according to the artist, “a symbol of feminine strength and beauty, a modern-day heroine.”\u003c/p>\n\u003cp>\u003cem>Coralee\u003c/em> is also the official harbinger of a major announcement: Over the next three years, the Sijbrandij Foundation plans to fund the installation of up to 100 pieces of large-scale, temporary public art in San Francisco, forming a 34-mile path around the city dubbed the “\u003ca href=\"https://www.bigartloop.org/\">Big Art Loop\u003c/a>.”\u003c/p>\n\u003cp>“San Francisco would be fine without this,” Sid Sijbrandij told KQED, “but our goal is to activate public spaces, foster civic pride and create shared moments through art.” Sijbrandij, the former CEO of GitLab, is working with the art agency Building 180 for the curation and operations of the Big Art Loop.\u003c/p>\n\u003cp>So far, the private foundation has spent $2 million to situate eight artworks across the city, at Sunset Dunes, in Golden Gate Park, on Market Street, and along the Embarcadero.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sijbrandij hopes to get other funders interested in the project, explaining that it will take “a lot of effort and probably other donors” to reach the project goal of 100 artworks.\u003c/p>\n\u003cp>In addition to \u003ci>Coralee\u003c/i>, 11 pieces are planned for installation this fall on Port-owned property along the city’s eastern waterfront, between Heron’s Head Park and Fisherman’s Wharf. A public event on Nov. 6 will celebrate this first phase of the project.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1kDqQMcpTsD7Sbgz4hJCAWOx-B5lytZE&ehbc=2E312F\" width=\"640\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>A map of the Big Art Loop incorporates existing, permanent public art pieces like Ruth Asawa’s \u003ci>Aurora\u003c/i> along the Embarcadero and Mildred Howard’s \u003ci>Promissory Notes\u003c/i> at the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>. Recently installed pieces funded by the Sijbrandij Foundation are currently clustered along the Great Highway, JFK Drive and the Embarcadero. The southern border of the loop, through Ingleside, the Excelsior and McLaren Park, contains just a few pieces of existing public art.\u003c/p>\n\u003cp>According to Building 180 co-founder and CEO Shannon Riley, the Big Art Loop already has a database of large-scale artwork available for the project. Building 180 and the Sijbrandij Foundation have also put out \u003ca href=\"https://form.fillout.com/t/grfaCBwmKaus\">an open call for existing sculptures\u003c/a> over 10 feet in height or length.\u003c/p>\n\u003cp>Artworks will be selected for the Big Art Loop based on feasibility requirements, scale, availability and cost, along with input from local residents and community groups, said Riley. “Something I think that’s unique and different that we hadn’t done with \u003ci>R-Evolution\u003c/i>,” Riley told KQED, “is that we’re really leaning into our partners to help curate and select what they think is going to fit their community. We’re doing more community work than we have in the past.”\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>Unlike \u003ci>R-Evolution\u003c/i> (renewed for another six months at Embarcadero Plaza), which passed through the Arts Commission for approval — with a modicum of opportunity for public feedback — the artwork heading to the city’s waterfront sites did not go through the Arts Commission, and were presented just once in \u003ca href=\"https://sanfrancisco.granicus.com/player/clip/50364?view_id=92&redirect=true\">a publicly accessible meeting of the Port Commission\u003c/a> on July 8, 2025.\u003c/p>\n\u003cp>In a period of public comment at that meeting, representatives from the San Francisco Giants and the Ferry Building voiced their support for the project, along with one call from a member of the general public (in favor) and a prewritten letter from Ariel Sutro, co-founder of Coven, a nonprofit accelerator for “big art.”\u003c/p>\n\u003cp>Per the Port’s public art program, the person who ultimately approves so-called “unsolicited art” — that is, art proposed by an artist or sponsor for a Port site — is the Port’s executive director.\u003c/p>\n\u003cp>[aside postID='arts_13981044']Along with Albany’s \u003ci>Coralee\u003c/i>, the next phase of the Big Art Loop includes work by artists Peter Hazel, El Nino, Mathias Gmachl, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. Eight of these artists have exhibited their work at Burning Man; many of the pieces slated for installation along the waterfront had their debuts at the festival in Nevada’s Black Rock Desert.\u003c/p>\n\u003cp>Sijbrandij said he’s attended Burning Man four times. “One of the highlights was the beautiful art,” he said. “We’ve always wondered why you could have that beautiful art there, but it wasn’t anywhere else. And Burning Man is — although it’s a very inclusive community — it’s not very inclusive to get there. It’s expensive and impractical for people to visit. So we’re really excited to bring some of the Burning Man arts to the city. With the caveat that, like, half of it isn’t from Burning Man.”\u003c/p>\n\u003cp>The Big Art Loop arrives as the San Francisco Arts Commission \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/shaping-legacy-temporary-public-art-projects\">launches its own effort to situate temporary artworks in public space\u003c/a>, in response to an audit of the city’s existing monuments and memorials.\u003c/p>\n\u003cp>The SFAC-funded public art projects will cap the three-year Shaping Legacy project, which engaged underrepresented communities in discussions about the city’s “commemorative landscape.” Selected works, which will be approved by the arts commission’s Visual Arts Committee and then the full commission (where public feedback is also encouraged), are anticipated to take place between April 2026 and October 2026.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Update Oct. 8: Kristen Berg’s name was removed from the list of artists included in the next phase of the Big Art Loop.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>\u003ca href=\"https://www.danaalbanyart.com/coralee\">Coralee\u003c/a>\u003c/i>, an 18-foot-long mermaid made from recycled metal and glass by Bay Area artist Dana Albany, is now installed at the Port of San Francisco’s Pier ½ through September 2026. Made at Chatsworth House in Derbyshire, England for the exhibition \u003ci>Radical Horizons: The Art of Burning Man\u003c/i>, the sculpture is, according to the artist, “a symbol of feminine strength and beauty, a modern-day heroine.”\u003c/p>\n\u003cp>\u003cem>Coralee\u003c/em> is also the official harbinger of a major announcement: Over the next three years, the Sijbrandij Foundation plans to fund the installation of up to 100 pieces of large-scale, temporary public art in San Francisco, forming a 34-mile path around the city dubbed the “\u003ca href=\"https://www.bigartloop.org/\">Big Art Loop\u003c/a>.”\u003c/p>\n\u003cp>“San Francisco would be fine without this,” Sid Sijbrandij told KQED, “but our goal is to activate public spaces, foster civic pride and create shared moments through art.” Sijbrandij, the former CEO of GitLab, is working with the art agency Building 180 for the curation and operations of the Big Art Loop.\u003c/p>\n\u003cp>So far, the private foundation has spent $2 million to situate eight artworks across the city, at Sunset Dunes, in Golden Gate Park, on Market Street, and along the Embarcadero.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sijbrandij hopes to get other funders interested in the project, explaining that it will take “a lot of effort and probably other donors” to reach the project goal of 100 artworks.\u003c/p>\n\u003cp>In addition to \u003ci>Coralee\u003c/i>, 11 pieces are planned for installation this fall on Port-owned property along the city’s eastern waterfront, between Heron’s Head Park and Fisherman’s Wharf. A public event on Nov. 6 will celebrate this first phase of the project.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1kDqQMcpTsD7Sbgz4hJCAWOx-B5lytZE&ehbc=2E312F\" width=\"640\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>A map of the Big Art Loop incorporates existing, permanent public art pieces like Ruth Asawa’s \u003ci>Aurora\u003c/i> along the Embarcadero and Mildred Howard’s \u003ci>Promissory Notes\u003c/i> at the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>. Recently installed pieces funded by the Sijbrandij Foundation are currently clustered along the Great Highway, JFK Drive and the Embarcadero. The southern border of the loop, through Ingleside, the Excelsior and McLaren Park, contains just a few pieces of existing public art.\u003c/p>\n\u003cp>According to Building 180 co-founder and CEO Shannon Riley, the Big Art Loop already has a database of large-scale artwork available for the project. Building 180 and the Sijbrandij Foundation have also put out \u003ca href=\"https://form.fillout.com/t/grfaCBwmKaus\">an open call for existing sculptures\u003c/a> over 10 feet in height or length.\u003c/p>\n\u003cp>Artworks will be selected for the Big Art Loop based on feasibility requirements, scale, availability and cost, along with input from local residents and community groups, said Riley. “Something I think that’s unique and different that we hadn’t done with \u003ci>R-Evolution\u003c/i>,” Riley told KQED, “is that we’re really leaning into our partners to help curate and select what they think is going to fit their community. We’re doing more community work than we have in the past.”\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>Unlike \u003ci>R-Evolution\u003c/i> (renewed for another six months at Embarcadero Plaza), which passed through the Arts Commission for approval — with a modicum of opportunity for public feedback — the artwork heading to the city’s waterfront sites did not go through the Arts Commission, and were presented just once in \u003ca href=\"https://sanfrancisco.granicus.com/player/clip/50364?view_id=92&redirect=true\">a publicly accessible meeting of the Port Commission\u003c/a> on July 8, 2025.\u003c/p>\n\u003cp>In a period of public comment at that meeting, representatives from the San Francisco Giants and the Ferry Building voiced their support for the project, along with one call from a member of the general public (in favor) and a prewritten letter from Ariel Sutro, co-founder of Coven, a nonprofit accelerator for “big art.”\u003c/p>\n\u003cp>Per the Port’s public art program, the person who ultimately approves so-called “unsolicited art” — that is, art proposed by an artist or sponsor for a Port site — is the Port’s executive director.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Along with Albany’s \u003ci>Coralee\u003c/i>, the next phase of the Big Art Loop includes work by artists Peter Hazel, El Nino, Mathias Gmachl, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. Eight of these artists have exhibited their work at Burning Man; many of the pieces slated for installation along the waterfront had their debuts at the festival in Nevada’s Black Rock Desert.\u003c/p>\n\u003cp>Sijbrandij said he’s attended Burning Man four times. “One of the highlights was the beautiful art,” he said. “We’ve always wondered why you could have that beautiful art there, but it wasn’t anywhere else. And Burning Man is — although it’s a very inclusive community — it’s not very inclusive to get there. It’s expensive and impractical for people to visit. So we’re really excited to bring some of the Burning Man arts to the city. With the caveat that, like, half of it isn’t from Burning Man.”\u003c/p>\n\u003cp>The Big Art Loop arrives as the San Francisco Arts Commission \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/shaping-legacy-temporary-public-art-projects\">launches its own effort to situate temporary artworks in public space\u003c/a>, in response to an audit of the city’s existing monuments and memorials.\u003c/p>\n\u003cp>The SFAC-funded public art projects will cap the three-year Shaping Legacy project, which engaged underrepresented communities in discussions about the city’s “commemorative landscape.” Selected works, which will be approved by the arts commission’s Visual Arts Committee and then the full commission (where public feedback is also encouraged), are anticipated to take place between April 2026 and October 2026.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Update Oct. 8: Kristen Berg’s name was removed from the list of artists included in the next phase of the Big Art Loop.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13978222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg\" alt=\"artwork of color prints mounted on metal strips over brown leather hides\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Libidinal Mark-Making (Hickey Series),’ 2025–ongoing. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a good sign when an art show has \u003ca href=\"https://www.kqed.org/arts/13962303/foul-odor-off-hours-upper-market-gallery-review\">a bit of a scent\u003c/a>. Too often, art exists outside of the hustle and bustle of everyday life. It hangs on perfectly smooth, white walls. It sits in mostly empty, climate-controlled spaces. Even when there’s texture and novel materials at play, viewers have to keep their hands to themselves.\u003c/p>\n\u003cp>But a sniff? A sniff is allowed.\u003c/p>\n\u003cp>[aside postID='arts_13978179']Before the May 29 opening of \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>\u003c/i>, a group show at the San Francisco Arts Commission main gallery, the smells emitting from some of the artworks were strong enough that windows were opened. A month in, the scents that remain are less aggressive, more intriguing: leather, polyurethane rubber, silicone and linen. \u003c/p>\n\u003cp>It’s fitting that \u003ci>Service Tension\u003c/i> engages as many senses as possible. The show, curated by Elena Gross and Leila Weefur, opens with a quote from “\u003ca href=\"https://bombmagazine.org/articles/2023/06/21/butch-blow-job-jenny-johnson/\">Butch Blow Job\u003c/a>,” an essay by Jenny Johnson: “May whomever needs to hear this — feel more, feel further.”\u003c/p>\n\u003cp>The exhibition is filled with abstracted scenes of queer intimacy and desire, starting with an enormous photograph by \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">Xandra Ibarra\u003c/a>, part of her ongoing \u003ci>Hickey Series\u003c/i>. In the image, a person lifts dark hair to reveal the tell-tale burst blood vessels on their back, while someone else’s tattooed hand rests gently on their neck.\u003c/p>\n\u003cfigure id=\"attachment_13978228\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg\" alt=\"two vertical leather rectangles wrapped in black ropes and knots\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tiona Nekkia McClodden, ‘NEVER LET ME GO | XXII. only by special order,’ 2024 and ‘NEVER LET ME GO | V. irrevocable,’ 2023. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That combination of spikiness and tenderness is echoed in \u003ca href=\"https://www.instagram.com/ricki.dwyer/?hl=en\">Ricki Dwyer\u003c/a>’s dyed textile work \u003ci>Bound (-)\u003c/i>, where perceived softness is negated by the steel nails that keep the piece pulled taut over stretcher bars. Whether weaving, binding, draping or piercing, the six artists of \u003ci>Service Tension\u003c/i> all manipulate their materials in precisely controlled — and titillating — ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tionam.com/\">Tiona Nekkia McClodden\u003c/a>, a Philadelphia artist, has just two pieces in the show, but their monolithic power is undeniable. The satiny leather surfaces of \u003ci>NEVER LET ME GO | XXII. only by special order\u003c/i> and \u003ci>NEVER LET ME GO | V. irrevocable\u003c/i>, wrapped in shibari knots, are elegant stand-ins for bodies. Colored with leather dye and shoe polish, they have an almost iridescent sheen. Also, see above re: sniffing.\u003c/p>\n\u003cp>Beside McClodden’s work, \u003ca href=\"https://www.instagram.com/salimatuamabebe/?hl=en\">Salimatu Amabebe\u003c/a>’s two neoprene rubber pieces hang like a before-and-after: the patched-together, mostly solid \u003ci>River\u003c/i> next to the shredded, braided \u003ci>Rush\u003c/i>. (For these, along with four neoprene rubber sculptures on neoprene rubber-coved pedestals, close proximity isn’t necessary to get a whiff of Amabebe’s preferred material.)\u003c/p>\n\u003cfigure id=\"attachment_13978229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg\" alt=\"gallery view with rubber works on pedestals, large photo prints on walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Sasha Kelley’s ‘Portraits of Chocolate Chip,’ 2017 on the far right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Service Tension\u003c/i> delights in pairing restraint with abandon: a light touch and a tight knot. The show’s back half turns slightly more playful, starting with \u003ca href=\"https://www.kqed.org/arts/13828216/the-hustle-a-photographer-juggling-side-gigs-on-18000-a-year-toddler-in-tow\">Sasha Kelley\u003c/a>’s unexpected arrangement of \u003ci>Portraits of Chocolate Chip\u003c/i>. In a large color photograph on the wall, Chocolate Chip, mostly nude, looks at the camera sedately from all fours. Below, on an angled sheet of plywood, there’s Chip from above, laughing with eyes closed on the same blue carpet. It’s a vertiginous, topsy-turvy display, another version of before and after.\u003c/p>\n\u003cp>(Some of that tumble is also present in \u003ca href=\"https://www.instagram.com/veggiemon/?hl=en\">Autumn Wallace\u003c/a>’s painting \u003ci>Use Case\u003c/i>, a violet swirl of hoof and human with an open mouth labeled “Passage.”)\u003c/p>\n\u003cp>The star of the show is Ibarra’s \u003ci>Free To Those Who Deserve It\u003c/i>, an ongoing sculpture series made out of colorful vices and pierced silicone genitals. Displayed in five cut-out windows within a standalone wall, the sculptures hint — peep-show-style — at a wobbly comedy, even when struck through with an impossibly long nail.\u003c/p>\n\u003cfigure id=\"attachment_13978231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg\" alt=\"gallery with white walls, vertical painting at back and small sculptures in cut-outs from standing wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Autumn Wallace’s ‘Use Case,’ 2022 at left and Xandra Ibarra’s ‘Free To Those Who Deserve It,’ 2020–ongoing at right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floating diaphanously above the rest of the show’s material solids, Dwyer’s textile work shifts the mood to one of relaxed (satiated?) comfort. \u003ci>Psychically Milked\u003c/i> fills one large room with a complicated drape of intersecting planes. Its expanse of woven cotton and linen is anchored to angled two-by-fours with chrome-plated, cast brass Hershey’s kisses. Twelve of these are also presented, jewel-like, in a clear plastic case, sweetness personified. \u003c/p>\n\u003cp>In their exhibition text, Gross and Weefur describe how an “erotic circuit” is created between artist, artwork and audience — one that exists without the need for physical touch. It helps that the pieces in \u003ci>Service Tension\u003c/i> act on viewers in such evocative, sensory ways. After a deep inhale and a lengthy gaze, you may leave the gallery buzzing with that electricity: all tense surfaces, prickly with possibility.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>’ is on view at the San Francisco Arts Commission main gallery (401 Van Ness Ave.) through Aug. 23, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg\" alt=\"artwork of color prints mounted on metal strips over brown leather hides\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5153_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Libidinal Mark-Making (Hickey Series),’ 2025–ongoing. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a good sign when an art show has \u003ca href=\"https://www.kqed.org/arts/13962303/foul-odor-off-hours-upper-market-gallery-review\">a bit of a scent\u003c/a>. Too often, art exists outside of the hustle and bustle of everyday life. It hangs on perfectly smooth, white walls. It sits in mostly empty, climate-controlled spaces. Even when there’s texture and novel materials at play, viewers have to keep their hands to themselves.\u003c/p>\n\u003cp>But a sniff? A sniff is allowed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before the May 29 opening of \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>\u003c/i>, a group show at the San Francisco Arts Commission main gallery, the smells emitting from some of the artworks were strong enough that windows were opened. A month in, the scents that remain are less aggressive, more intriguing: leather, polyurethane rubber, silicone and linen. \u003c/p>\n\u003cp>It’s fitting that \u003ci>Service Tension\u003c/i> engages as many senses as possible. The show, curated by Elena Gross and Leila Weefur, opens with a quote from “\u003ca href=\"https://bombmagazine.org/articles/2023/06/21/butch-blow-job-jenny-johnson/\">Butch Blow Job\u003c/a>,” an essay by Jenny Johnson: “May whomever needs to hear this — feel more, feel further.”\u003c/p>\n\u003cp>The exhibition is filled with abstracted scenes of queer intimacy and desire, starting with an enormous photograph by \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">Xandra Ibarra\u003c/a>, part of her ongoing \u003ci>Hickey Series\u003c/i>. In the image, a person lifts dark hair to reveal the tell-tale burst blood vessels on their back, while someone else’s tattooed hand rests gently on their neck.\u003c/p>\n\u003cfigure id=\"attachment_13978228\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg\" alt=\"two vertical leather rectangles wrapped in black ropes and knots\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5157_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tiona Nekkia McClodden, ‘NEVER LET ME GO | XXII. only by special order,’ 2024 and ‘NEVER LET ME GO | V. irrevocable,’ 2023. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That combination of spikiness and tenderness is echoed in \u003ca href=\"https://www.instagram.com/ricki.dwyer/?hl=en\">Ricki Dwyer\u003c/a>’s dyed textile work \u003ci>Bound (-)\u003c/i>, where perceived softness is negated by the steel nails that keep the piece pulled taut over stretcher bars. Whether weaving, binding, draping or piercing, the six artists of \u003ci>Service Tension\u003c/i> all manipulate their materials in precisely controlled — and titillating — ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tionam.com/\">Tiona Nekkia McClodden\u003c/a>, a Philadelphia artist, has just two pieces in the show, but their monolithic power is undeniable. The satiny leather surfaces of \u003ci>NEVER LET ME GO | XXII. only by special order\u003c/i> and \u003ci>NEVER LET ME GO | V. irrevocable\u003c/i>, wrapped in shibari knots, are elegant stand-ins for bodies. Colored with leather dye and shoe polish, they have an almost iridescent sheen. Also, see above re: sniffing.\u003c/p>\n\u003cp>Beside McClodden’s work, \u003ca href=\"https://www.instagram.com/salimatuamabebe/?hl=en\">Salimatu Amabebe\u003c/a>’s two neoprene rubber pieces hang like a before-and-after: the patched-together, mostly solid \u003ci>River\u003c/i> next to the shredded, braided \u003ci>Rush\u003c/i>. (For these, along with four neoprene rubber sculptures on neoprene rubber-coved pedestals, close proximity isn’t necessary to get a whiff of Amabebe’s preferred material.)\u003c/p>\n\u003cfigure id=\"attachment_13978229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg\" alt=\"gallery view with rubber works on pedestals, large photo prints on walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5121_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Sasha Kelley’s ‘Portraits of Chocolate Chip,’ 2017 on the far right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Service Tension\u003c/i> delights in pairing restraint with abandon: a light touch and a tight knot. The show’s back half turns slightly more playful, starting with \u003ca href=\"https://www.kqed.org/arts/13828216/the-hustle-a-photographer-juggling-side-gigs-on-18000-a-year-toddler-in-tow\">Sasha Kelley\u003c/a>’s unexpected arrangement of \u003ci>Portraits of Chocolate Chip\u003c/i>. In a large color photograph on the wall, Chocolate Chip, mostly nude, looks at the camera sedately from all fours. Below, on an angled sheet of plywood, there’s Chip from above, laughing with eyes closed on the same blue carpet. It’s a vertiginous, topsy-turvy display, another version of before and after.\u003c/p>\n\u003cp>(Some of that tumble is also present in \u003ca href=\"https://www.instagram.com/veggiemon/?hl=en\">Autumn Wallace\u003c/a>’s painting \u003ci>Use Case\u003c/i>, a violet swirl of hoof and human with an open mouth labeled “Passage.”)\u003c/p>\n\u003cp>The star of the show is Ibarra’s \u003ci>Free To Those Who Deserve It\u003c/i>, an ongoing sculpture series made out of colorful vices and pierced silicone genitals. Displayed in five cut-out windows within a standalone wall, the sculptures hint — peep-show-style — at a wobbly comedy, even when struck through with an impossibly long nail.\u003c/p>\n\u003cfigure id=\"attachment_13978231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg\" alt=\"gallery with white walls, vertical painting at back and small sculptures in cut-outs from standing wall\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/SFAC_ServiceTension-5128_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Service Tension’ with Autumn Wallace’s ‘Use Case,’ 2022 at left and Xandra Ibarra’s ‘Free To Those Who Deserve It,’ 2020–ongoing at right. \u003ccite>(Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floating diaphanously above the rest of the show’s material solids, Dwyer’s textile work shifts the mood to one of relaxed (satiated?) comfort. \u003ci>Psychically Milked\u003c/i> fills one large room with a complicated drape of intersecting planes. Its expanse of woven cotton and linen is anchored to angled two-by-fours with chrome-plated, cast brass Hershey’s kisses. Twelve of these are also presented, jewel-like, in a clear plastic case, sweetness personified. \u003c/p>\n\u003cp>In their exhibition text, Gross and Weefur describe how an “erotic circuit” is created between artist, artwork and audience — one that exists without the need for physical touch. It helps that the pieces in \u003ci>Service Tension\u003c/i> act on viewers in such evocative, sensory ways. After a deep inhale and a lengthy gaze, you may leave the gallery buzzing with that electricity: all tense surfaces, prickly with possibility.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/service-tension\">Service Tension\u003c/a>’ is on view at the San Francisco Arts Commission main gallery (401 Van Ness Ave.) through Aug. 23, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sfac\">San Francisco Arts Commission\u003c/a> (SFAC) on Tuesday announced a cumulative $10.4 million in \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grants\u003c/a> to 145 artists and arts nonprofits and six cultural centers.\u003c/p>\n\u003cp>The grants include more than $7.5 million in funding for 98 individual artists and 47 arts nonprofit organizations to support performances, documentaries, exhibitions, sculpture, literature, workshops, albums, public events and more. \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FY25-SFAC-Grantees-All-Final.pdf\">A full list of grant recipients and their projects can be found here [PDF]\u003c/a>. \u003c/p>\n\u003cp>Nearly $3 million of the grant funding will be spread across six different cultural centers. Those include the African American Art and Culture Complex, the Ruth Williams Bayview Opera House, the Mission Cultural Center for Latino Arts, and SOMArts, along with three “virtual cultural centers”: the Asian Pacific Islander Cultural Center, the American Indian Cultural Center, and the Queer Cultural Center. \u003c/p>\n\u003cp>[aside postID='arts_13975661']The city received 533 grant applications, which were evaluated by 73 peer panelists between January and April of this year. The grants are funded by Proposition E, passed by voters in 2018, which mandates that 1.5% of San Francisco’s 14% hotel tax goes to fund arts and culture initiatives.\u003c/p>\n\u003cp>“Each grant awarded this cycle represents an investment in San Francisco’s vibrant cultural future. We are proud to support so many talented artists and organizations, especially for San Francisco artists whom nearly half are first-time grantees,” said Denise Pate, SFAC’s Director of Community Investments, referring to the grant category for individual artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The grants come as Mayor Daniel Lurie mounts a visible public comeback for San Francisco, utilizing its arts communities. Free downtown events with DJs and live music are now a regular occurrence, and Lurie has championed relaxed permit restrictions and the city’s \u003ca href=\"https://www.sf.gov/news-mayor-lurie-signs-legislation-creating-five-new-entertainment-zones-across-san-francisco-launches-castro-entertainment-zone\">new entertainment zones\u003c/a> as engines for economic recovery. Lurie also recently announced a restructuring to place SFAC, Grants for the Arts (GFTA), and the San Francisco Film Commission \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">under the same umbrella\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13974119']In a statement, Lurie said that “our arts community brings people from across the world to San Francisco — keeping our arts and cultural institutions strong and vibrant is critical to our economic recovery.” \u003c/p>\n\u003cp>In May, \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">the Trump administration canceled National Endowment of the Arts grants nationwide\u003c/a>, including grants for dozens of Bay Area artists and nonprofits. The month prior, the Trump administration \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">canceled millions of dollars in National Endowment of the Humanities grants\u003c/a>, which also affected many Bay Area artists. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in April, \u003ca href=\"https://www.kqed.org/arts/13974119/city-of-san-francisco-cancels-14-million-in-dream-keeper-initiative-funding\">the city of San Francisco officially canceled $14.4 million in Dream Keeper Initiative grants\u003c/a> to more than 30 San Francisco-based cultural organizations working in social services and the arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sfac\">San Francisco Arts Commission\u003c/a> (SFAC) on Tuesday announced a cumulative $10.4 million in \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grants\u003c/a> to 145 artists and arts nonprofits and six cultural centers.\u003c/p>\n\u003cp>The grants include more than $7.5 million in funding for 98 individual artists and 47 arts nonprofit organizations to support performances, documentaries, exhibitions, sculpture, literature, workshops, albums, public events and more. \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FY25-SFAC-Grantees-All-Final.pdf\">A full list of grant recipients and their projects can be found here [PDF]\u003c/a>. \u003c/p>\n\u003cp>Nearly $3 million of the grant funding will be spread across six different cultural centers. Those include the African American Art and Culture Complex, the Ruth Williams Bayview Opera House, the Mission Cultural Center for Latino Arts, and SOMArts, along with three “virtual cultural centers”: the Asian Pacific Islander Cultural Center, the American Indian Cultural Center, and the Queer Cultural Center. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The city received 533 grant applications, which were evaluated by 73 peer panelists between January and April of this year. The grants are funded by Proposition E, passed by voters in 2018, which mandates that 1.5% of San Francisco’s 14% hotel tax goes to fund arts and culture initiatives.\u003c/p>\n\u003cp>“Each grant awarded this cycle represents an investment in San Francisco’s vibrant cultural future. We are proud to support so many talented artists and organizations, especially for San Francisco artists whom nearly half are first-time grantees,” said Denise Pate, SFAC’s Director of Community Investments, referring to the grant category for individual artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The grants come as Mayor Daniel Lurie mounts a visible public comeback for San Francisco, utilizing its arts communities. Free downtown events with DJs and live music are now a regular occurrence, and Lurie has championed relaxed permit restrictions and the city’s \u003ca href=\"https://www.sf.gov/news-mayor-lurie-signs-legislation-creating-five-new-entertainment-zones-across-san-francisco-launches-castro-entertainment-zone\">new entertainment zones\u003c/a> as engines for economic recovery. Lurie also recently announced a restructuring to place SFAC, Grants for the Arts (GFTA), and the San Francisco Film Commission \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">under the same umbrella\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a statement, Lurie said that “our arts community brings people from across the world to San Francisco — keeping our arts and cultural institutions strong and vibrant is critical to our economic recovery.” \u003c/p>\n\u003cp>In May, \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">the Trump administration canceled National Endowment of the Arts grants nationwide\u003c/a>, including grants for dozens of Bay Area artists and nonprofits. The month prior, the Trump administration \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">canceled millions of dollars in National Endowment of the Humanities grants\u003c/a>, which also affected many Bay Area artists. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in April, \u003ca href=\"https://www.kqed.org/arts/13974119/city-of-san-francisco-cancels-14-million-in-dream-keeper-initiative-funding\">the city of San Francisco officially canceled $14.4 million in Dream Keeper Initiative grants\u003c/a> to more than 30 San Francisco-based cultural organizations working in social services and the arts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Launches Chinatown Artist Registry With $2.26 Million for Public Art",
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"content": "\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938291,news_11973503' label=\"Public Art in Chinatown\"]In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>[aside postID='arts_13920940']The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Votes to Remove ‘Dragon Relief’ Over Broadway Tunnel",
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"content": "\u003cp>In a Visual Arts Committee meeting on Nov. 15, members of the San Francisco Arts Commission voted unanimously to remove the bronze and brass dragon sculpture over the Broadway Tunnel and place the public artwork in storage.\u003c/p>\n\u003cp>The decision was prompted by planned upgrades to the 1968 Chinatown Public Health Center, which include enlarging the windows over the tunnel and eliminating the wall on which the sculpture is currently mounted.\u003c/p>\n\u003cp>[aside postID='news_11891329']Also on the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also on the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Piece of Public Art Makes a Point Above Yerba Buena Island",
"headTitle": "A New Piece of Public Art Makes a Point Above Yerba Buena Island | KQED",
"content": "\u003cp>While crossing the Bay Bridge or looking out from the Embarcadero, you may have noticed a silvery, pointy, futuristic-looking shape atop the western part of Yerba Buena Island. Below is everything you need to know about the new piece of public art by world-renowned artist, \u003ca href=\"https://www.sugimotohiroshi.com/\">Hiroshi Sugimoto\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>So what is it?\u003c/strong>\u003c/p>\n\u003cp>It’s called \u003cem>Point of Infinity\u003c/em>. Sugimoto says an infinity point “means the edge of the universe.” Contemplating that idea, he designed a conceptual piece that he describes as “two lines coming closer and closer, but never meeting. But finding that the meeting point was at the infinity point.”\u003c/p>\n\u003cp>Sugimoto is best known for his black-and-white photography, but over his long career, he has also created a number of \u003ca href=\"https://www.sugimotohiroshi.com/site-specific-arts\">site-specific works\u003c/a> like the one that now sits atop Yerba Buena Island.\u003c/p>\n\u003cfigure id=\"attachment_13930371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg\" alt=\"A man in a white coat and jeans stands in front of a large sculpture.\" width=\"800\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The artist, Hiroshi Sugimoto, with his work, “Point of Infinity.” \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this work, he also drew inspiration from Treasure Island’s history. The island was originally built to host the Golden Gate International Exposition (aka the World’s Fair) in 1939, which featured a sundial sculpture called \u003cem>\u003ca href=\"https://calisphere.org/item/f42e9a38615e276872ede846cc59b6d2/\">Tower of the Sun\u003c/a>\u003c/em>. Sugimoto says a sense of time is a key concept in all his art and \u003cem>Point of Infinity\u003c/em> is also meant to serve as a sundial on the spring and autumnal equinoxes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think this can be like an ancient ruin. A symbol of this 21st century civilization,” Sugimoto said at a press event earlier this week. “Just in case humans disappeared, this piece would remain, as we look at the Egyptian pyramids [from] 5,000 years before. So I hope this can be a symbol of our time of civilization.”\u003c/p>\n\u003cp>\u003cstrong>Is it a sculpture or …?\u003c/strong>\u003c/p>\n\u003cp>Technically, yes. But more specifically, Sugimoto describes it as “a mathematical model, [that] has a sculptural form.” He’s done this kind of \u003ca href=\"https://www.sugimotohiroshi.com/mathematical-models\">mathematical modeling\u003c/a> with his art before; he actually used math equations to achieve this design.\u003c/p>\n\u003cp>The base is made out of concrete panels reinforced by glass fiber that gives it a slight mosaic look when seen up close, and the upper part is mirror-polished marine-grade stainless steel.\u003c/p>\n\u003cp>\u003cstrong>How big is \u003cem>Point of Infinity\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>It’s 69 feet tall with a 23-foot base that tapers to the point, which is just a teeny-tiny seven-eighths of an inch.\u003c/p>\n\u003cfigure id=\"attachment_13930380\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930380 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg\" alt=\"A gray and silver sculpture in a park.\" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-768x431.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">“Point of Infinity” sculpture in Hilltop Park on Yerba Buena Island with a view of Treasure Island. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s it doing on Yerba Buena Island?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> is the inaugural artwork commissioned for the \u003ca href=\"https://www.sfartscommission.org/content/treasure-island-arts-master-plan\">Treasure Island Art Program\u003c/a>, a project run by the San Francisco Arts Commission and the \u003ca href=\"https://sf.gov/information/treasure-islandyerba-buena-island-development-project\">Treasure Island Development Authority\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_10826872']In 2005, when plans to redevelop Treasure Island were taking shape, Jill Manton, the director of the SFAC’s Public Art Trust and Special Initiatives, successfully lobbied then-mayor Gavin Newsom to apply a city rule that new building projects set aside one percent of the construction budget for public art. That translates to a fund of up to $50 million for the Treasure Island Art Program.\u003c/p>\n\u003cp>When the program issued a public call for artwork, Sugimoto was one of the first to apply, and was ultimately selected from a finalist pool that included artists Chakaia Booker and Andy Goldsworthy. A number of other to-be-revealed works are currently in progress, but Sugimoto’s \u003cem>Point of Infinity\u003c/em> leads the charge.\u003c/p>\n\u003cp>“When I saw his sculpture on the site, I was moved to tears,” Manton said. “Because it was really the fulfillment of a dream that I had to make Treasure Island this incredible destination for the arts. And what better way than to start with a truly landmark, monumental artwork like this?”\u003c/p>\n\u003cfigure id=\"attachment_13930372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg\" alt=\"A sculpture on a hill at night.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of “Point of Infinity” on Yerba Buena Island at night. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where exactly is it located? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> sits in \u003ca href=\"https://www.hooddesignstudio.com/hilltop\">Hilltop Park\u003c/a>, one of two new parks designed by \u003ca href=\"https://www.hooddesignstudio.com/\">Hood Design Studio\u003c/a>, the firm of Bay Area landscape architect and MacArthur ‘Genius’ grant recipient \u003ca href=\"https://www.macfound.org/fellows/class-of-2019/walter-hood#searchresults\">Walter Hood\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Can anyone go to the park and see it up close?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon! Both the park and artwork are expected to open to the public in November. In addition to seeing \u003cem>Point of Infinity\u003c/em>, you will have a beautiful 360-degree view of the Bay. So when you visit, you could say you’re looking to infinity … and beyond.\u003c/p>\n\n",
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"excerpt": "Have you spied a silvery spire from the freeway? We’ve got the answers to all your questions about Hiroshi Sugimoto’s new sculpture.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While crossing the Bay Bridge or looking out from the Embarcadero, you may have noticed a silvery, pointy, futuristic-looking shape atop the western part of Yerba Buena Island. Below is everything you need to know about the new piece of public art by world-renowned artist, \u003ca href=\"https://www.sugimotohiroshi.com/\">Hiroshi Sugimoto\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>So what is it?\u003c/strong>\u003c/p>\n\u003cp>It’s called \u003cem>Point of Infinity\u003c/em>. Sugimoto says an infinity point “means the edge of the universe.” Contemplating that idea, he designed a conceptual piece that he describes as “two lines coming closer and closer, but never meeting. But finding that the meeting point was at the infinity point.”\u003c/p>\n\u003cp>Sugimoto is best known for his black-and-white photography, but over his long career, he has also created a number of \u003ca href=\"https://www.sugimotohiroshi.com/site-specific-arts\">site-specific works\u003c/a> like the one that now sits atop Yerba Buena Island.\u003c/p>\n\u003cfigure id=\"attachment_13930371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg\" alt=\"A man in a white coat and jeans stands in front of a large sculpture.\" width=\"800\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-800x1260.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Sugimoto-with-Point-of-Infinity.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The artist, Hiroshi Sugimoto, with his work, “Point of Infinity.” \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this work, he also drew inspiration from Treasure Island’s history. The island was originally built to host the Golden Gate International Exposition (aka the World’s Fair) in 1939, which featured a sundial sculpture called \u003cem>\u003ca href=\"https://calisphere.org/item/f42e9a38615e276872ede846cc59b6d2/\">Tower of the Sun\u003c/a>\u003c/em>. Sugimoto says a sense of time is a key concept in all his art and \u003cem>Point of Infinity\u003c/em> is also meant to serve as a sundial on the spring and autumnal equinoxes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think this can be like an ancient ruin. A symbol of this 21st century civilization,” Sugimoto said at a press event earlier this week. “Just in case humans disappeared, this piece would remain, as we look at the Egyptian pyramids [from] 5,000 years before. So I hope this can be a symbol of our time of civilization.”\u003c/p>\n\u003cp>\u003cstrong>Is it a sculpture or …?\u003c/strong>\u003c/p>\n\u003cp>Technically, yes. But more specifically, Sugimoto describes it as “a mathematical model, [that] has a sculptural form.” He’s done this kind of \u003ca href=\"https://www.sugimotohiroshi.com/mathematical-models\">mathematical modeling\u003c/a> with his art before; he actually used math equations to achieve this design.\u003c/p>\n\u003cp>The base is made out of concrete panels reinforced by glass fiber that gives it a slight mosaic look when seen up close, and the upper part is mirror-polished marine-grade stainless steel.\u003c/p>\n\u003cp>\u003cstrong>How big is \u003cem>Point of Infinity\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>It’s 69 feet tall with a 23-foot base that tapers to the point, which is just a teeny-tiny seven-eighths of an inch.\u003c/p>\n\u003cfigure id=\"attachment_13930380\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930380 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg\" alt=\"A gray and silver sculpture in a park.\" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinty-Alt-View-768x431.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">“Point of Infinity” sculpture in Hilltop Park on Yerba Buena Island with a view of Treasure Island. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s it doing on Yerba Buena Island?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> is the inaugural artwork commissioned for the \u003ca href=\"https://www.sfartscommission.org/content/treasure-island-arts-master-plan\">Treasure Island Art Program\u003c/a>, a project run by the San Francisco Arts Commission and the \u003ca href=\"https://sf.gov/information/treasure-islandyerba-buena-island-development-project\">Treasure Island Development Authority\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2005, when plans to redevelop Treasure Island were taking shape, Jill Manton, the director of the SFAC’s Public Art Trust and Special Initiatives, successfully lobbied then-mayor Gavin Newsom to apply a city rule that new building projects set aside one percent of the construction budget for public art. That translates to a fund of up to $50 million for the Treasure Island Art Program.\u003c/p>\n\u003cp>When the program issued a public call for artwork, Sugimoto was one of the first to apply, and was ultimately selected from a finalist pool that included artists Chakaia Booker and Andy Goldsworthy. A number of other to-be-revealed works are currently in progress, but Sugimoto’s \u003cem>Point of Infinity\u003c/em> leads the charge.\u003c/p>\n\u003cp>“When I saw his sculpture on the site, I was moved to tears,” Manton said. “Because it was really the fulfillment of a dream that I had to make Treasure Island this incredible destination for the arts. And what better way than to start with a truly landmark, monumental artwork like this?”\u003c/p>\n\u003cfigure id=\"attachment_13930372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg\" alt=\"A sculpture on a hill at night.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Point-of-Infinity-Nighttime.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of “Point of Infinity” on Yerba Buena Island at night. \u003ccite>(Sugimoto Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where exactly is it located? \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Point of Infinity\u003c/em> sits in \u003ca href=\"https://www.hooddesignstudio.com/hilltop\">Hilltop Park\u003c/a>, one of two new parks designed by \u003ca href=\"https://www.hooddesignstudio.com/\">Hood Design Studio\u003c/a>, the firm of Bay Area landscape architect and MacArthur ‘Genius’ grant recipient \u003ca href=\"https://www.macfound.org/fellows/class-of-2019/walter-hood#searchresults\">Walter Hood\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Can anyone go to the park and see it up close?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon! Both the park and artwork are expected to open to the public in November. In addition to seeing \u003cem>Point of Infinity\u003c/em>, you will have a beautiful 360-degree view of the Bay. So when you visit, you could say you’re looking to infinity … and beyond.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay",
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"headTitle": "At SFAC, a Soulful Exploration of James Baldwin’s Legacy in the Bay | KQED",
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"content": "\u003cp>A new art exhibition curated by San Francisco artist \u003ca href=\"https://www.artofmarkharris.com/\">Mark Harris\u003c/a> pays homage to the prolific writer and activist James Baldwin, 60 years after Baldwin’s visit to San Francisco in the spring of 1963.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">\u003cem>Invincible Black Soul: The Art of Bearing Witness\u003c/em>\u003c/a>, and on view at the San Francisco Arts Commission Main Gallery through July 8, it was partially inspired by the 1964 KQED documentary \u003ca href=\"https://www.pbs.org/video/thirteen-specials-take-hammer/\">\u003cem>Take this Hammer\u003c/em>\u003c/a>, which captured Baldwin’s Bay Area visit.\u003c/p>\n\u003cfigure id=\"attachment_13929638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg\" alt=\"a collage with the printed words 'black exodus'\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-800x1006.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1222x1536.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1629x2048.jpg 1629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-1920x2414.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mark-harris_52835049317_o-scaled.jpg 2036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Black Exodus,’ 2018, by Mark Harris. Mixed media on Panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He took it as his calling to bear witness to what was going on. And he’s inspired so many people, so many artists,” Harris says.\u003c/p>\n\u003cp>The show features Harris’ own work, which centers the practice of mixed-media collage, along with two of his longtime friends and fellow Bay Area artists: \u003ca href=\"https://www.raymondlhaywood.com/\">Raymond L. Haywood\u003c/a>, an abstract expressionist, and \u003ca href=\"https://www.bryankeiththomas.com/\">Bryan Keith Thomas\u003c/a>, who makes sculpture and paintings heavily inspired by symbols in Black history. Harris says the show overall is a bold statement following in Baldwin’s tradition.\u003c/p>\n\u003cfigure id=\"attachment_13929641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg\" alt=\"a collage with black and white photos of young Black folks\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1020x1300.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-768x979.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1205x1536.jpg 1205w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1606x2048.jpg 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-1920x2448.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/bryan-keith-thomas_52835641661_o-scaled.jpg 2008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Passport One,’ 2023, by Bryan Keith Thomas. Mixed media collage on paper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[We’re] letting people know Black artists are still here in the Bay Area, and we’re creating work about what’s going on, about what we’re seeing,” Harris says. “When [Baldwin] was here 60 years ago, this wouldn’t have been possible, right? They wouldn’t have given three Black artists the main gallery of the Arts Commission to say anything. And now I’m here, saying exactly what I want to say.”\u003c/p>\n\u003cfigure id=\"attachment_13929642\" class=\"wp-caption aligncenter\" style=\"max-width: 467px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/raymond-l-haywood_52836082998_o.jpg\" alt=\"an abstract expressionist collage \" width=\"467\" height=\"467\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Love,’ 2020, by Raymond L. Haywood. Acrylic and mixed media on wood panel. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Invincible Black Soul: The Art of Bearing Witness’ is on view at the San Francisco Arts Commission Main Gallery through July 8. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/invincible-black-soul-art-bearing-witness\">More info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "At SFAC, a Soulful Exploration of James Baldwin's Legacy in the Bay | KQED",
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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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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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