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"content": "\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>[aside postID='arts_13889000,arts_13884238,arts_13883431' label='SFAC in the news']In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m confident we’ll be looked at in terms of the work we do in this space,” she says, “particularly as it relates to paying honor to more women and women of color.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a yearlong ordeal, Lava Thomas’ design for a monument to honor Dr. Maya Angelou at the main branch of the public library has finally been approved by the San Francisco Arts Commission. On Nov. 2, the commissioners voted unanimously to terminate the second request for qualifications (RFQ) launched by the SFAC in January and paused in August, and award the $250,000 project to Thomas, the 2019 review panel’s original selection.\u003c/p>\n\u003cp>Resolving this embarrassing delay in the city’s attempt to increase the representation of women in public monuments (there are currently only \u003ca href=\"https://sfgov.org/dosw/sites/default/files/DOSW%202019%20Report%20Representation%20of%20Women%20in%20City%20Property.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">three monuments to specific women\u003c/a> in San Francisco; 91% of the city’s monuments honor or depict men) became a top priority for Acting Director of Cultural Affairs Denise Bradley-Tyson when she assumed her position in early October.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In just the past month, Bradley-Tyson moved swiftly to organize meetings with members of the arts commission, leveraging her personal connections to Mayor London Breed, Thomas and other stakeholders to pave the way for the Nov. 2 decision. \u003c/p>\n\u003cp>“With this issue—the discord around it had been going on for so many months—there was truly a willingness among all parties to find a path forward, to begin healing and focusing on the project itself,” says Bradley-Tyson.\u003c/p>\n\u003cp>The arts commission publicly \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" rel=\"noopener noreferrer\" target=\"_blank\">apologized to Thomas\u003c/a> in early August during a meeting that saw nearly two hours of public comment criticizing the SFAC’s mishandling of the project. In September, Mayor Breed and Supervisor Catherine Stefani, who authored the original legislation to increase the representation of women in city monuments, and who favored “a significant figurative representation of Maya Angelou” as opposed to Thomas’ book-like design, met with Thomas privately and apologized to her. And in the Oct. 21 meeting of the SFAC’s visual arts committee, Stefani made a public apology, saying, “For the pain I caused you, Ms. Thomas, and the process you have had to endure, I am truly sorry. And to the others who have felt they were not seen or heard over the past year, I am also truly sorry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m certain that Dr. Angelou’s spirit can rest knowing that justice has been served here today,” Thomas said to the visual arts committee on Oct. 21, accepting Stefani’s apology. “It has been a long time coming.”\u003c/p>\n\u003cp>Over the past year, as rumors swirled of exactly who blocked Thomas’ design (some named the mayor, others pointed to an anonymous private donor) and why, the conversation around which figures public monuments should recognize—and how—has become an international one. San Francisco is now \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" rel=\"noopener noreferrer\" target=\"_blank\">evaluating\u003c/a> all its existing monuments, after protestors targeted statuary in Golden Gate Park and the SFAC preemptively removed the \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" rel=\"noopener noreferrer\" target=\"_blank\">Christopher Columbus\u003c/a> statue near Coit Tower.\u003c/p>\n\u003cfigure id=\"attachment_13889111\" class=\"wp-caption alignright\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg\" alt=\"\" width=\"1200\" height=\"1442\" class=\"size-full wp-image-13889111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Denise-Bradley-Tyson-Headshot-Photo-copy-768x923.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Acting Director of Cultural Affairs Denise Bradley-Tyson. \u003ccite>(Courtesy SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against a background of calls for racial justice and increased transparency (many of them led by Thomas herself), the artist selection process for the Maya Angelou monument has spanned the tenure of three separate leaders of the SFAC. Tom DeCaigny departed after eight years as San Francisco’s director of cultural affairs at the beginning of 2020, and Deputy Director Rebekah Krell stepped in as acting director. When Krell left for a position in the city’s COVID Command Center in October, the mayor appointed Bradley-Tyson, former executive director of the Museum of the African Diaspora, in her stead. Bradley-Tyson will remain in the role until newly announced \u003ca href=\"https://www.kqed.org/arts/13889000/theres-a-new-director-of-cultural-affairs-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Ralph Remington\u003c/a> becomes DeCaigny’s official replacement in early 2021.\u003c/p>\n\u003cp>Despite her short tenure—or perhaps because of it—Bradley-Tyson has led the SFAC to effective action on the Maya Angelou monument. She quotes the famous writer, as many involved in the project are wont to do: “‘There is no greater agony than bearing an untold story inside you.’”\u003c/p>\n\u003cp>“I felt like this was one of those untold stories,” she says of Thomas’ spurned design.\u003c/p>\n\u003cp>Before the decision to cancel the second RFQ was finalized, a collector of Thomas’ work had actually approached the city offering to fund Thomas’ Maya Angelou monument and then donate the bronze sculpture to the city, ensuring it would enter the civic art collection, if in a more roundabout way. But this was an imperfect solution for many, since it meant Thomas’ design would retain second-tier status, and would have to be installed elsewhere in San Francisco (the SFAC’s commission would claim the space just outside the main branch of the public library). \u003c/p>\n\u003cp>So when canceling the second RFQ became a possibility, Bradley-Tyson and members of her office lead discussions with Thomas, the collector and library staff about turning that proposed funding towards other purposes. “We have someone who loves Lava’s work, loves what it stood for,” Bradley-Tyson says. “Rather than see this money go away, we had a discussion about how could this money be redeployed in terms of activating the monument so that it could be a living, breathing monument.”\u003c/p>\n\u003cp>The donor (who will be named once the paperwork is finalized) has promised $160,000 to create programming inside and outside of the library that centers around “the spirits and legacy of Dr. Maya Angelou,” Bradley-Tyson explains.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" class=\"size-full wp-image-13864655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the public comment at the SFAC’s Nov. 2 meeting touched on ways this long process might forever taint the Maya Angelou monument moving forward, Bradley-Tyson is more optimistic. “This is just the first step in reframing our city’s art collection to be one that includes women and people of color who are universal heroes, who inspire all of us,” she says. To her, the journey to eventually selecting Thomas’ design—even at its most painful moments—opened up a much-needed local conversation. She points to the coalitions that formed around Thomas, including the \u003ca href=\"https://www.seeblackwomxn.com/\" rel=\"noopener noreferrer\" target=\"_blank\">See Black Womxn\u003c/a> collective, and the outpouring of community support that pushed the SFAC to address the issue head-on. \u003c/p>\n\u003cp>“My personal hashtag became ‘monuments matter,’” Bradley-Tyson says. “I think as a nation we want to be proud of who we exalt in public spaces and also want to ensure that future generations see themselves in the monuments in our public spaces.”\u003c/p>\n\u003cp>To that end, the SFAC is working with Supervisor Stefani and the mayor’s office to establish an advisory committee to help guide the city through future representations of Black women and women of color in the public realm. Stefani said the committee would include Black women artists and arts professionals. “I also plan to advocate for funding to expand representation in the public realm with the input of this newly formed advisory committee,” Stefani said on Oct. 21, “as well as for educational programming focusing on cultural and racial equity in public art.”\u003c/p>\n\u003cp>Lava Thomas’ \u003ci>Portrait of a Phenomenal Woman\u003c/i> will be the first time a woman of color is honored with a monument on a piece of city property. San Francisco is a leader on so many issues, Bradley-Tyson says, and this can be yet another realm in which the city sets national precedence. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced Friday the appointment of Ralph Remington as the new Director of Cultural Affairs for the San Francisco Arts Commission (SFAC).\u003c/p>\n\u003cp>Remington, who will start in January, succeeds previous director Tom DeCaigny, who left the post at the beginning of 2020.\u003c/p>\n\u003cp>In the interim, the SFAC has hosted \u003ca href=\"https://www.kqed.org/arts/13875513/sfac-galleries-capricorn-chronicles-review\" target=\"_blank\" rel=\"noopener noreferrer\">a look back\u003c/a> at its archives, closed its public gallery during the pandemic and weathered criticism over its handling of a Maya Angelou monument in San Francisco, proposed by artist Lava Thomas. The SFAC had approved the design, then \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">rescinded\u003c/a> its approval, \u003ca href=\"https://www.kqed.org/arts/13884238/sfac-apologizes-to-lava-thomas-for-mishandling-maya-angelou-monument\" target=\"_blank\" rel=\"noopener noreferrer\">apologized\u003c/a> to Thomas eight months later and then \u003ca href=\"https://www.nytimes.com/2020/11/03/arts/design/san-francisco-maya-angelou-monument.html\" target=\"_blank\" rel=\"noopener noreferrer\">re-approved it last week\u003c/a>. The ordeal raised questions about racial equity within the commission and in the arts citywide.\u003c/p>\n\u003cp>“We’ve consistently prioritized equity and diversity in our programs and through the arts,” said Mayor Breed in the appointment announcement. “Ralph has a long history of working in the arts, I know he will ensure San Francisco’s diverse community of artists and cultural organizations are supported and valued throughout this pandemic and beyond.”\u003c/p>\n\u003cp>Remington, who has past experience as a playwright, actor and screenwriter, comes to San Francisco from Arizona, where he serves as the Deputy Director for Arts and Culture for the City of Tempe. Prior to that, he worked for Actors Equity Association in Los Angeles and the National Endowment for the Arts (NEA) in Washington, D.C., and served on the city council in Minneapolis. He graduated from Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his new role, Remington will oversee San Francisco’s collection of public art, the city’s arts grants, the city’s galleries and public programs, and help guide policy and funding for the arts in the city. That includes having a role in the SFAC’s recently announced \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">evaluation of all public monuments in the city\u003c/a> to determine which should stay and which should go, and the eventual reopening of the SFAC gallery when COVID levels permit it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in Ralph’s ability to harness the City’s resources and lead us into the future,” said Roberto Ordeñana, the president of the SFAC, in a statement. “This pandemic presents incredible challenges to the world and our sector in particular, and Ralph’s fresh perspectives and incredible intersection of skills will help deploy strategies to keep the arts so very central to what San Francisco values.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist-Led Task Force Wants SF to Rethink Approach to Public Monuments",
"headTitle": "Artist-Led Task Force Wants SF to Rethink Approach to Public Monuments | KQED",
"content": "\u003cp>It’s been a particularly tumultuous year for San Francisco’s public monuments.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">debacle surrounding the commissioning of a memorial honoring the poet and activist Maya Angelou\u003c/a>, the \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">toppling and defacing of several bronze statues representing the country’s colonial history\u003c/a>, and \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s hasty removal of the imposing bronze statue of Christopher Columbus by Coit Tower\u003c/a>, have opened up questions about San Francisco’s relationship with its monuments and whether some of the artworks in the municipal collection should exist at all.\u003c/p>\n\u003cp>As city officials trundle along with the slow process of \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">reviewing all 87 monuments\u003c/a> under their purview—and have yet to announce the set of criteria they plan to use to assess the artworks—a group of creative industry workers known collectively as the \u003ca href=\"https://newmonumentstaskforce.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Monument Taskforce\u003c/a> have taken it upon themselves to conduct their own parallel report.\u003c/p>\n\u003cp>“Being artists, we can move much faster than the city,” says \u003ca href=\"https://cheyenneconcepcion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheyenne Concepcion\u003c/a>, the San Francisco artist and designer who founded the task force and is the report’s main author.\u003c/p>\n\u003cfigure id=\"attachment_13887501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based artist and designer Cheyenne Concepcion is the founder of the New Monuments Taskforce and the main author of ‘The Relic Report,’ the task force’s first publication. \u003ccite>(Quentin Langlois)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the city’s ongoing official survey, the task force (which Concepcion playfully calls a “fantastical municipal body”) came out this week with \u003ca href=\"https://files.cargocollective.com/c800012/TheRelicReport-PartOne.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Relic Report: An Unofficial Municipal Study of SF’s Monuments\u003c/em>\u003c/a>. The slender volume groups the 87 monuments under six headings. Each of the six sections features images of the categorized artworks as well as written commentary on the groupings. It’s like a slimmed-down version of an Audubon bird guide, but for public memorials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Relic Report\u003c/em>’s taxonomy includes colonial statues (or “Original Gentrifiers”—OGs—in \u003cem>Relic Report\u003c/em> parlance) such as the 1939 statue of St. Francis of Assisi in Golden Gate Park; war memorials like the five memorializing the Spanish-American war; statues to political and cultural icons including Robert Louis Stevenson, Abraham Lincoln and William Shakespeare; non-representational monuments like pop artist George Segal’s \u003ci>The Holocaust\u003c/i>, a 1982 memorial made from bronze, wire and concrete, installed in Lincoln Park; and a group of misfits, like the Volunteer Fireman Memorial, a 1932 sculpture depicting a trio of firefighters mounted on a marble plinth located in Washington Square.\u003c/p>\n\u003cp>You can scroll through a complete list of the city’s monuments \u003ca href=\"https://www.sfchronicle.com/file/219/5/2195-Civic%20Art%20Collection%20Monuments%20and%20Memorials%20DETAIL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>But the largest group in the \u003cem>Relic Report\u003c/em> by far is “The Boys Club”—a section devoted to monuments mostly depicting dead white men. “Monuments tell us about who we are, where we have been,” Concepcion writes in her report. “So what does that entail when there are three women and fifty-three men represented in the San Francisco Civic Art Collection.”\u003c/p>\n\u003cp>Concepcion says she hopes grouping the city’s collection in this way will help members of the public see patterns in San Francisco’s approach to commissioning monuments.\u003c/p>\n\u003cp>“I think that there’s a correlation between that number of monuments and their messaging,” she says. “So the fact that there are fewer modern monuments tells us that maybe that’s not as important to us. And then the fact that the most patriarchal monuments is the biggest group, maybe that kind of weighs heavier in terms of the level of importance.”\u003c/p>\n\u003cp>The task force currently consists of \u003ca href=\"https://newmonumentstaskforce.org/About\" target=\"_blank\" rel=\"noopener noreferrer\">12 members\u003c/a> representing an array of backgrounds, including Elizabeth Gessel, director of public programs at San Francisco’s \u003ca href=\"https://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a> and \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation\u003c/a> deputy director Xavier G. Buck. The majority of the members are Bay Area-based. But there are some exceptions, like Paul Farber, director of \u003ca href=\"https://monumentlab.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monument Lab\u003c/a>, a public art and history studio in Philadelphia.\u003c/p>\n\u003cp>“Cheyenne Concepcion’s New Monuments Taskforce and \u003cem>The Relic Report\u003c/em> are part of a fascinating and meaningful wave of local interventions that also address the national reckoning over monuments,” says Farber. “Even when a city runs official oversight over public art and keeps data on its own public monuments, we rely on artists and critical thinkers to animate and push those civic processes—to draw out potential connections, complex motifs and timely entry points for further action.”\u003c/p>\n\u003cp>Concepcion is one of 18 \u003cem>\u003ca href=\"https://www.goethe.de/ins/us/en/kul/art/stp.html\" target=\"_blank\" rel=\"noopener noreferrer\">Shaping the Past\u003c/a>\u003c/em> artistic fellows supported by the \u003ca href=\"https://www.goethe.de/\" target=\"_blank\" rel=\"noopener noreferrer\">Goethe Institut, \u003c/a>Germany’s foreign cultural institute. \u003cem>Shaping the Past\u003c/em> projects aim to reflect on cultural memory in the U.S. and across the globe.\u003c/p>\n\u003cp>“Cheyenne’s approach is deeply connected to the questions that \u003cem>Shaping the Past\u003c/em> is addressing in general: What social repercussions are associated with the rooting of history in monuments and memorials, and how can those narratives be shifted or upended through alternative, innovative approaches to memorialization?” says Bettina Wodianka, former program curator at the Goethe Institut in San Francisco.\u003c/p>\n\u003cp>Now that the task force’s \u003cem>Relic Report\u003c/em> is live (paper versions are currently available for free at \u003ca href=\"http://www.adobebooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adobe Books\u003c/a> in the Mission District), Concepcion says the plan is to solicit feedback from the public about the city’s monuments. The window for public comment runs through Oct. 25. People can submit their responses to the task force’s series of questions via an \u003ca href=\"https://newmonumentstaskforce.org/Public-Comment\" target=\"_blank\" rel=\"noopener noreferrer\">online survey\u003c/a> or a mail-in one, which can be found inside each hard-copy version of the report.\u003c/p>\n\u003cfigure id=\"attachment_13887502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png\" alt=\"\" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1020x558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-768x420.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1536x840.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-2048x1120.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1920x1050.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Relic Report’ includes a survey asking members of the public to share their views about San Francisco’s monuments. It can be completed online or via the mail-in survey enclosed with each hard copy of the report. \u003ccite>(Courtesy of The New Monuments Taskforce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that, Concepcion says, the task force will meet to discuss the findings. The public input will form the basis of a second report, a set of recommendations for San Francisco monuments going forwards, which the task force plans to share with city officials in December. “It’s a means to apply political pressure regarding more meaningful representation through public art in our public spaces,” Concepcion says.\u003c/p>\n\u003cp>Concepcion says she started reaching out to the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a>, one of three city departments tasked with surveying and rethinking San Francisco’s monuments processes and policies, a couple of months ago.\u003c/p>\n\u003cp>She says someone from that department finally got back to her last week. “It sounds like they’re open to at least seeing what I have to say to them,” Concepcion says. “I see this as a resource for them too.”\u003c/p>\n\u003cp>“The Arts Commission has no comment because we are not partnering on this project,” wrote the arts commission’s acting director of communications, Rachelle Axel, in an email to KQED. “These are parallel efforts. Members of our team had a call with Cheyenne last Friday to get more information from her on her task force plans. But we aren’t working together … Cheyenne’s is an artistic endeavor and ours is very much about the future disposition of the City’s monuments.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I view my version as a punk rock version; it’s less serious and more snarky than the city’s,” Concepcion says, noting the advantages of being unofficial. “I’m hoping that people will feel like they can be more honest, so we can generate meaningful reflections.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a particularly tumultuous year for San Francisco’s public monuments.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">debacle surrounding the commissioning of a memorial honoring the poet and activist Maya Angelou\u003c/a>, the \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">toppling and defacing of several bronze statues representing the country’s colonial history\u003c/a>, and \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s hasty removal of the imposing bronze statue of Christopher Columbus by Coit Tower\u003c/a>, have opened up questions about San Francisco’s relationship with its monuments and whether some of the artworks in the municipal collection should exist at all.\u003c/p>\n\u003cp>As city officials trundle along with the slow process of \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">reviewing all 87 monuments\u003c/a> under their purview—and have yet to announce the set of criteria they plan to use to assess the artworks—a group of creative industry workers known collectively as the \u003ca href=\"https://newmonumentstaskforce.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Monument Taskforce\u003c/a> have taken it upon themselves to conduct their own parallel report.\u003c/p>\n\u003cp>“Being artists, we can move much faster than the city,” says \u003ca href=\"https://cheyenneconcepcion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheyenne Concepcion\u003c/a>, the San Francisco artist and designer who founded the task force and is the report’s main author.\u003c/p>\n\u003cfigure id=\"attachment_13887501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based artist and designer Cheyenne Concepcion is the founder of the New Monuments Taskforce and the main author of ‘The Relic Report,’ the task force’s first publication. \u003ccite>(Quentin Langlois)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the city’s ongoing official survey, the task force (which Concepcion playfully calls a “fantastical municipal body”) came out this week with \u003ca href=\"https://files.cargocollective.com/c800012/TheRelicReport-PartOne.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Relic Report: An Unofficial Municipal Study of SF’s Monuments\u003c/em>\u003c/a>. The slender volume groups the 87 monuments under six headings. Each of the six sections features images of the categorized artworks as well as written commentary on the groupings. It’s like a slimmed-down version of an Audubon bird guide, but for public memorials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Relic Report\u003c/em>’s taxonomy includes colonial statues (or “Original Gentrifiers”—OGs—in \u003cem>Relic Report\u003c/em> parlance) such as the 1939 statue of St. Francis of Assisi in Golden Gate Park; war memorials like the five memorializing the Spanish-American war; statues to political and cultural icons including Robert Louis Stevenson, Abraham Lincoln and William Shakespeare; non-representational monuments like pop artist George Segal’s \u003ci>The Holocaust\u003c/i>, a 1982 memorial made from bronze, wire and concrete, installed in Lincoln Park; and a group of misfits, like the Volunteer Fireman Memorial, a 1932 sculpture depicting a trio of firefighters mounted on a marble plinth located in Washington Square.\u003c/p>\n\u003cp>You can scroll through a complete list of the city’s monuments \u003ca href=\"https://www.sfchronicle.com/file/219/5/2195-Civic%20Art%20Collection%20Monuments%20and%20Memorials%20DETAIL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>But the largest group in the \u003cem>Relic Report\u003c/em> by far is “The Boys Club”—a section devoted to monuments mostly depicting dead white men. “Monuments tell us about who we are, where we have been,” Concepcion writes in her report. “So what does that entail when there are three women and fifty-three men represented in the San Francisco Civic Art Collection.”\u003c/p>\n\u003cp>Concepcion says she hopes grouping the city’s collection in this way will help members of the public see patterns in San Francisco’s approach to commissioning monuments.\u003c/p>\n\u003cp>“I think that there’s a correlation between that number of monuments and their messaging,” she says. “So the fact that there are fewer modern monuments tells us that maybe that’s not as important to us. And then the fact that the most patriarchal monuments is the biggest group, maybe that kind of weighs heavier in terms of the level of importance.”\u003c/p>\n\u003cp>The task force currently consists of \u003ca href=\"https://newmonumentstaskforce.org/About\" target=\"_blank\" rel=\"noopener noreferrer\">12 members\u003c/a> representing an array of backgrounds, including Elizabeth Gessel, director of public programs at San Francisco’s \u003ca href=\"https://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a> and \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation\u003c/a> deputy director Xavier G. Buck. The majority of the members are Bay Area-based. But there are some exceptions, like Paul Farber, director of \u003ca href=\"https://monumentlab.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monument Lab\u003c/a>, a public art and history studio in Philadelphia.\u003c/p>\n\u003cp>“Cheyenne Concepcion’s New Monuments Taskforce and \u003cem>The Relic Report\u003c/em> are part of a fascinating and meaningful wave of local interventions that also address the national reckoning over monuments,” says Farber. “Even when a city runs official oversight over public art and keeps data on its own public monuments, we rely on artists and critical thinkers to animate and push those civic processes—to draw out potential connections, complex motifs and timely entry points for further action.”\u003c/p>\n\u003cp>Concepcion is one of 18 \u003cem>\u003ca href=\"https://www.goethe.de/ins/us/en/kul/art/stp.html\" target=\"_blank\" rel=\"noopener noreferrer\">Shaping the Past\u003c/a>\u003c/em> artistic fellows supported by the \u003ca href=\"https://www.goethe.de/\" target=\"_blank\" rel=\"noopener noreferrer\">Goethe Institut, \u003c/a>Germany’s foreign cultural institute. \u003cem>Shaping the Past\u003c/em> projects aim to reflect on cultural memory in the U.S. and across the globe.\u003c/p>\n\u003cp>“Cheyenne’s approach is deeply connected to the questions that \u003cem>Shaping the Past\u003c/em> is addressing in general: What social repercussions are associated with the rooting of history in monuments and memorials, and how can those narratives be shifted or upended through alternative, innovative approaches to memorialization?” says Bettina Wodianka, former program curator at the Goethe Institut in San Francisco.\u003c/p>\n\u003cp>Now that the task force’s \u003cem>Relic Report\u003c/em> is live (paper versions are currently available for free at \u003ca href=\"http://www.adobebooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adobe Books\u003c/a> in the Mission District), Concepcion says the plan is to solicit feedback from the public about the city’s monuments. The window for public comment runs through Oct. 25. People can submit their responses to the task force’s series of questions via an \u003ca href=\"https://newmonumentstaskforce.org/Public-Comment\" target=\"_blank\" rel=\"noopener noreferrer\">online survey\u003c/a> or a mail-in one, which can be found inside each hard-copy version of the report.\u003c/p>\n\u003cfigure id=\"attachment_13887502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png\" alt=\"\" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1020x558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-768x420.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1536x840.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-2048x1120.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1920x1050.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Relic Report’ includes a survey asking members of the public to share their views about San Francisco’s monuments. It can be completed online or via the mail-in survey enclosed with each hard copy of the report. \u003ccite>(Courtesy of The New Monuments Taskforce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that, Concepcion says, the task force will meet to discuss the findings. The public input will form the basis of a second report, a set of recommendations for San Francisco monuments going forwards, which the task force plans to share with city officials in December. “It’s a means to apply political pressure regarding more meaningful representation through public art in our public spaces,” Concepcion says.\u003c/p>\n\u003cp>Concepcion says she started reaching out to the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a>, one of three city departments tasked with surveying and rethinking San Francisco’s monuments processes and policies, a couple of months ago.\u003c/p>\n\u003cp>She says someone from that department finally got back to her last week. “It sounds like they’re open to at least seeing what I have to say to them,” Concepcion says. “I see this as a resource for them too.”\u003c/p>\n\u003cp>“The Arts Commission has no comment because we are not partnering on this project,” wrote the arts commission’s acting director of communications, Rachelle Axel, in an email to KQED. “These are parallel efforts. Members of our team had a call with Cheyenne last Friday to get more information from her on her task force plans. But we aren’t working together … Cheyenne’s is an artistic endeavor and ours is very much about the future disposition of the City’s monuments.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I view my version as a punk rock version; it’s less serious and more snarky than the city’s,” Concepcion says, noting the advantages of being unofficial. “I’m hoping that people will feel like they can be more honest, so we can generate meaningful reflections.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument",
"headTitle": "SFAC Apologizes to Lava Thomas for Mishandling Maya Angelou Monument | KQED",
"content": "\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>[aside postID=\"arts_13883431,arts_13870742,news_11794018\" label=\"public art in sf\"]So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CC32JF5B3yJ/\u003c/p>\n\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco officials hit pause on plans to erect a monument to poet Maya Angelou once again Monday, this time in response to criticism from the Bay Area arts community.\u003c/p>\n\u003cp>It’s been nearly a year since the SFAC came close to green-lighting a proposal by local artist Lava Thomas for a public artwork honoring Angelou. But in October 2019, city officials rejected Thomas’ design, saying the artist’s book-shaped sculpture etched with an image of Angelou’s face wasn’t what they had in mind: a traditional, figurative statue of the poet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So the SFAC restarted the entire process in January, issuing a new \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/statue-honoring-dr-maya-angelou-san-francisco-library-main\" target=\"_blank\" rel=\"noopener noreferrer\">request for qualifications\u003c/a> (with an increased budget of $250,000, up from $180,000). Thomas declined to be considered. In March, the commission’s pre-qualification panel selected a short list of 19 artists. Another panel was scheduled to select finalists later this month.\u003c/p>\n\u003cp>Thomas, meanwhile, says her efforts to make contact with the SFAC or gain further understanding about what happened to her proposal went largely unacknowledged during the past year. She appeared at a July 15 Visual Arts Committee meeting to offer public comment during a discussion about evaluating the city’s monuments; Thomas questioned SFAC’s desire to remove symbols of white supremacy while seeking to honor Angelou in the very same visual language. Her comment was cut short by a two-minute time limit—a move that subsequent public commenters and presenters objected to as disrespectful, calling for the SFAC to give Thomas additional time.\u003c/p>\n\u003cp>At Monday’s meeting, Thomas held the floor with her own agenda item, reading a 10-minute statement that detailed her own experiences and called for the SFAC to take steps towards restorative justice, beginning with pausing the new selection process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The way in which this process was handled is an insult to Dr. Angelou’s legacy and the principles that she stood for,” Thomas said. “Mockery of due process, a pattern of disrespect, the erasure of our expertise and intellectual and creative labor, and the insistence of upholding racist tropes to represent one of the most celebrated exceptional Black women of our time in the name of honoring her, is beyond outrageous.”\u003c/p>\n\u003cp>Commission President Roberto Ordeñana apologized to Thomas on behalf of the SFAC. “I want to remind us all that when there are systems failures, the individuals and communities that end up experiencing the most harm as a result of said failures are those of us who experience oppression and marginalization,” he said. “Due to our failures, we have caused significant harm to an incredibly talented Black woman artist, and we have caused deep pain to members of the Black artist community.”\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual Arts Committee Chair Dorka Keehn also formally apologized to Thomas, announcing that she would recuse herself from future engagement with the Maya Angelou project, as well as from her involvement with the evaluation of the city’s public monuments.\u003c/p>\n\u003cp>In nearly two hours of public comment, artists, curators and other members of the Bay Area arts community stated their support for the demands of Thomas and the collective \u003ca href=\"https://www.instagram.com/seeblackwomxn/\" target=\"_blank\" rel=\"noopener noreferrer\">See Black Womxn\u003c/a>, formed late last year. Among the collective’s demands are a public apology from Supervisor Catherine Stefani, the monument’s legislative sponsor; that the SFAC change the language in the RFQ back from “statue” to “artwork”; that Keehn and Stefani resign; and that the SFAC arrange a meeting between See Black Womxn and Mayor London Breed.\u003c/p>\n\u003cp>Members of the public called for Thomas to be paid for the emotional and physical labor she has put into bringing attention to the issue. One commenter played a clip of \u003ca href=\"https://www.youtube.com/watch?v=k9ywTJvBwTc\" target=\"_blank\" rel=\"noopener noreferrer\">Angelou reading poetry\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts commissioners voted unanimously to pause the selection process in favor of “engaging stakeholders in a meaningful way” to have “clarity and transparency moving forward.” Ordeñana initially proposed a delay of 30–60 days to address the issues raised by Thomas, but conversation between the commissioners following the lengthy period of public comment acknowledged more time would be needed to reestablish public trust.\u003c/p>\n\u003cp>Acting Director of Cultural Affairs Rebekah Krell said the budget for the publicly funded monument, which was scheduled to be completed by the end of this year, will not be impacted by the delay. However, the board of supervisors or the mayor will need to approve a deadline extension into 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whatever the time frame is, it is what it is,” said commissioner Linda Parker Pennington, who earlier identified herself as the lone Black woman on the SFAC. “If that requires we have to go back and defer the ordinance, so be it. I really do think we need to allow the time to be taken that’s needed to repair what’s happened.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) has outlined preliminary plans to evaluate which of the city’s nearly one hundred public monuments and memorials should stay—and which should go.\u003c/p>\n\u003cp>[aside postID='news_11826151,news_11825103,arts_13870742' label='Monuments in SF']The plan, ordered by Mayor London Breed, comes less than a month after \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">protesters toppled\u003c/a> several statues depicting controversial historical figures such as Junípero Serra and Ulysses S. Grant, and planned to pull down the statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">Christoper Columbus\u003c/a> in front of Coit Tower.\u003c/p>\n\u003cp>At a public meeting Wednesday, Visual Arts Committee Chair Dorka Keehn said she welcomes the chance to explore which monuments align with the city’s values.\u003c/p>\n\u003cp>“This is a really important and I think very exciting opportunity to look at our our old memorials and what we want to see represented in the city in the future,” Keehn said.\u003c/p>\n\u003cp>Keehn explained the city will look at factors like the story behind the historical figure the work depicts, the reputation of the artist who made it, how the community has responded to the work during its existence, and the cost of removing and storing it.\u003c/p>\n\u003cfigure id=\"attachment_13883457\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/ColumbusStorage.jpg\" alt=\"\" width=\"1280\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-768x576.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Christopher Columbus statue being removed from its plinth in front of Coit Tower in the early morning of June 18. \u003ccite>(SF Gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cost is a huge issue. Like other city departments facing cuts in the COVID-19 economic fallout, the city’s civic art budget has been slashed from close to $900,000 to just over $110,000 for 2021. And the bill for preparing and moving the toppled Columbus statue, and storing it for just one year, comes to $110,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keehn said when the criteria are in place, the city will move towards the second phase of the project—assessing the monuments themselves. She added that San Francisco is looking to other cities facing similar challenges with statues, like New York and Louisville, Kentucky, for guidance on that front.\u003c/p>\n\u003cp>“There are monuments in other cities that have been vandalized, that have had a negative response from the community,” Keehn said. “And so we’re going to be targeting those artworks first among our our larger group.”\u003c/p>\n\u003cp>The SFAC is partnering with the city’s Human Rights Commission and Recreation & Parks Department in an effort to engage the community in the process.\u003c/p>\n\u003cp>But the commission may face some pushback in its engagement efforts.\u003c/p>\n\u003cp>Several members of the public, as well as—in a highly unusual move—arts commission staffers, voiced their concerns at the meeting about the city’s broader monuments strategy and past handling of similar projects.\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Lava Thomas read a statement criticizing the city’s \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">process to commission\u003c/a> a new monument honoring poet Maya Angelou last year.\u003c/p>\n\u003cp>Thomas was prevented from clinching the prized assignment even though she was the arts commission’s leading choice of artist, after city officials said her proposed design wasn’t representational enough.\u003c/p>\n\u003cp>The artist accused the city of “weaponizing a European convention of statuary … by insisting that Dr. Angelou be honored ‘in the same way that men have historically been elevated in this city’—the very same men whose monuments embody white supremacy that have been toppled and removed.”\u003c/p>\n\u003cp>Arts commission officials wouldn’t allow Thomas to finish \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/LavaThomas_MayaAngelou_VAC_07152020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">her statement\u003c/a> because of time restrictions. This caused an outcry among other people present at the meeting, including fellow Black artist Sirron Norris, who was presenting a mural design for a construction fence outside the Southeast Treatment Plant in Bayview.\u003c/p>\n\u003cp>“I think it’s a time where we don’t hamper Black voices and we need to listen,” Norris said. “I’m going to let people know what I just heard because I’m angry. This shit is wrong.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read Lava Thomas’ full statement, provided to KQED, below:\u003c/p>\n\u003cblockquote>\u003cp>I’d like to address the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou for the San Francisco Library. First, I’d like to commend the SFAC staff for their professionalism during that process last year.\u003c/p>\n\u003cp>When the Visual Arts Committee failed to approve, under political pressure, the selection of my proposal in the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou, it upheld practices that are rooted in institutional racism. My proposal was selected, almost unanimously, by a panel that included a critical mass of Black women artists and arts professionals in a process that was transparent and democratic. My proposal was grounded in an ethos of inclusion and Black Aesthetics, followed the project and legislative guidelines which have “statue” crossed out and “artwork” written in its place.\u003c/p>\n\u003cp>Supervisor Catherine Stefani then demanded that the project be closed, calling for a traditional statue and weaponizing a European convention of statuary to reject my work by insisting that Dr. Angelou be honored “in the same way that men have historically been elevated in this city”—the very same men who embody white supremacy in monuments that have recently been toppled and removed. Stefani’s manner was rude and arrogant, and she left the VAC meeting before I and the other Black women in attendance had an opportunity to voice our concerns. This public display of disrespect and public rejection of Black women’s intellectual and creative labor is an affront to myself and the other Black women who were present.\u003c/p>\n\u003cp>When will the Arts Commission, the Visual Arts Committee, Supervisor Stefani and the SF Board of Supervisors take restorative action to remedy this egregious injustice?\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) has outlined preliminary plans to evaluate which of the city’s nearly one hundred public monuments and memorials should stay—and which should go.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The plan, ordered by Mayor London Breed, comes less than a month after \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">protesters toppled\u003c/a> several statues depicting controversial historical figures such as Junípero Serra and Ulysses S. Grant, and planned to pull down the statue of \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">Christoper Columbus\u003c/a> in front of Coit Tower.\u003c/p>\n\u003cp>At a public meeting Wednesday, Visual Arts Committee Chair Dorka Keehn said she welcomes the chance to explore which monuments align with the city’s values.\u003c/p>\n\u003cp>“This is a really important and I think very exciting opportunity to look at our our old memorials and what we want to see represented in the city in the future,” Keehn said.\u003c/p>\n\u003cp>Keehn explained the city will look at factors like the story behind the historical figure the work depicts, the reputation of the artist who made it, how the community has responded to the work during its existence, and the cost of removing and storing it.\u003c/p>\n\u003cfigure id=\"attachment_13883457\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/ColumbusStorage.jpg\" alt=\"\" width=\"1280\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/ColumbusStorage-768x576.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The Christopher Columbus statue being removed from its plinth in front of Coit Tower in the early morning of June 18. \u003ccite>(SF Gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cost is a huge issue. Like other city departments facing cuts in the COVID-19 economic fallout, the city’s civic art budget has been slashed from close to $900,000 to just over $110,000 for 2021. And the bill for preparing and moving the toppled Columbus statue, and storing it for just one year, comes to $110,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keehn said when the criteria are in place, the city will move towards the second phase of the project—assessing the monuments themselves. She added that San Francisco is looking to other cities facing similar challenges with statues, like New York and Louisville, Kentucky, for guidance on that front.\u003c/p>\n\u003cp>“There are monuments in other cities that have been vandalized, that have had a negative response from the community,” Keehn said. “And so we’re going to be targeting those artworks first among our our larger group.”\u003c/p>\n\u003cp>The SFAC is partnering with the city’s Human Rights Commission and Recreation & Parks Department in an effort to engage the community in the process.\u003c/p>\n\u003cp>But the commission may face some pushback in its engagement efforts.\u003c/p>\n\u003cp>Several members of the public, as well as—in a highly unusual move—arts commission staffers, voiced their concerns at the meeting about the city’s broader monuments strategy and past handling of similar projects.\u003c/p>\n\u003cfigure id=\"attachment_13864656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg\" alt=\"A rendering of Lava Thomas' proposed monument to Maya Angelou, 'Portrait of a Phenomenal Woman,' outside the SFPL main branch.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Front_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman,’ outside the SFPL main branch. \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Lava Thomas read a statement criticizing the city’s \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">process to commission\u003c/a> a new monument honoring poet Maya Angelou last year.\u003c/p>\n\u003cp>Thomas was prevented from clinching the prized assignment even though she was the arts commission’s leading choice of artist, after city officials said her proposed design wasn’t representational enough.\u003c/p>\n\u003cp>The artist accused the city of “weaponizing a European convention of statuary … by insisting that Dr. Angelou be honored ‘in the same way that men have historically been elevated in this city’—the very same men whose monuments embody white supremacy that have been toppled and removed.”\u003c/p>\n\u003cp>Arts commission officials wouldn’t allow Thomas to finish \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/LavaThomas_MayaAngelou_VAC_07152020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">her statement\u003c/a> because of time restrictions. This caused an outcry among other people present at the meeting, including fellow Black artist Sirron Norris, who was presenting a mural design for a construction fence outside the Southeast Treatment Plant in Bayview.\u003c/p>\n\u003cp>“I think it’s a time where we don’t hamper Black voices and we need to listen,” Norris said. “I’m going to let people know what I just heard because I’m angry. This shit is wrong.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read Lava Thomas’ full statement, provided to KQED, below:\u003c/p>\n\u003cblockquote>\u003cp>I’d like to address the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou for the San Francisco Library. First, I’d like to commend the SFAC staff for their professionalism during that process last year.\u003c/p>\n\u003cp>When the Visual Arts Committee failed to approve, under political pressure, the selection of my proposal in the 2019 RFQ for a Sculpture to Honor Dr. Maya Angelou, it upheld practices that are rooted in institutional racism. My proposal was selected, almost unanimously, by a panel that included a critical mass of Black women artists and arts professionals in a process that was transparent and democratic. My proposal was grounded in an ethos of inclusion and Black Aesthetics, followed the project and legislative guidelines which have “statue” crossed out and “artwork” written in its place.\u003c/p>\n\u003cp>Supervisor Catherine Stefani then demanded that the project be closed, calling for a traditional statue and weaponizing a European convention of statuary to reject my work by insisting that Dr. Angelou be honored “in the same way that men have historically been elevated in this city”—the very same men who embody white supremacy in monuments that have recently been toppled and removed. Stefani’s manner was rude and arrogant, and she left the VAC meeting before I and the other Black women in attendance had an opportunity to voice our concerns. This public display of disrespect and public rejection of Black women’s intellectual and creative labor is an affront to myself and the other Black women who were present.\u003c/p>\n\u003cp>When will the Arts Commission, the Visual Arts Committee, Supervisor Stefani and the SF Board of Supervisors take restorative action to remedy this egregious injustice?\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’",
"headTitle": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’ | KQED",
"content": "\u003cp>When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? \u003c/p>\n\u003cp>This was never the case in San Francisco. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. No one in 2020 can quite determine how the gallery’s name, “Capricorn Asunder,” was chosen, but Benvenuto’s astrological sign is a potential clue.\u003c/p>\n\u003cp>The poster for the gallery’s first exhibition (called \u003ci>Saturnalia\u003c/i>, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">The Capricorn Chronicles\u003c/a>\u003c/i>, is suitably trippy. Illustrated bursts of popcorn float above the show title. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” \u003c/p>\n\u003cfigure id=\"attachment_13875608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"778\" class=\"size-full wp-image-13875608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-1020x661.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The poster for the first Capricorn Asunder show, ‘Saturnalia,’ in 1970. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show.\u003c/p>\n\u003cp>\u003ci>The Capricorn Chronicles\u003c/i> is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours. In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix. \u003c/p>\n\u003cfigure id=\"attachment_13875612\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Documentation of past shows and catalogs in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As could be expected, there are unknowns in the gallery’s history. Notably, the years 1970 through 1983 fit into just one storage box, the result of a 1980 fire at 165 Grove, where the Arts Commission once kept its offices. The empty lot left behind by that fire would go on to become the Please Touch Community Garden, a project initially begun in 2010 by artist GK Callahan and Lighthouse for the Blind and Visually Impaired. (Due to 155 Grove’s structural instability, the garden closed in the summer of 2019.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That structural instability is inherently part of \u003ci>The Capricorn Chronicles\u003c/i>, which spans shows located in the original 155 Grove space, the gallery’s “temporary” space in the Veterans Building after 155 Grove was deemed a seismic hazard in 1994, and its more \u003ca href=\"https://www.kqed.org/arts/11263135/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center\" rel=\"noopener noreferrer\" target=\"_blank\">recently expanded\u003c/a>, permanent Veterans Building home—not to mention various City Hall installations, off-site projects and far-flung neighborhood events. \u003c/p>\n\u003cfigure id=\"attachment_13875610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ephemera from past exhibitions on display in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s captured in the mix of posters, art objects, exhibition catalogs and handwritten messages on display is a story of various art trends and movements, and of Bay Area artists responding to social and political events. That includes a 1990 action protesting the possible defunding of the National Endowment for the Arts, which resulted in a funeral-like procession to the empty lot of 165 Grove Street and the burial of a copper time capsule containing 54 works of art. This “symbolic protection against the uncertainty of the future of our First Amendment rights” was well documented by various local television stations; you can watch that footage on a media player in the gallery’s corner.\u003c/p>\n\u003cp>Each of the curators has a favorite aspect of the show, which they will happily point out to visitors. For Wazwaz, it’s the aforementioned time capsule, which was exhumed in 1995 and displayed as a reminder of the fight for freedom of expression. For Im, it’s a ridiculous stream-of-consciousness email from an exhibiting artist (“watch out because here it comes im feeling the flow”), despite then-director Rupert Jenkins’ previous plea for more concise messages. And for Carpio, it’s anything handwritten, including detailed exhibition proposals. \u003c/p>\n\u003cfigure id=\"attachment_13875609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAC Galleries staff have moved their offices into the gallery for the duration of the show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three curators remark on the emotional difference between a tangible archive and a digital one, something their work on this show drove home. Moving forward, as they make their own archival decisions about what the future needs to know about the SFAC Galleries, they have a renewed interest in capturing the present moment through printed materials. \u003c/p>\n\u003cp>Maybe in another 50 years, that exuberant bit of wall vinyl testifying to the galleries’ 100-year history will depict a visionary art experience from the 2020s. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Capricorn Chronicles’ is on view at the San Francisco Arts Commission Main Gallery through March 28. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? \u003c/p>\n\u003cp>This was never the case in San Francisco. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. No one in 2020 can quite determine how the gallery’s name, “Capricorn Asunder,” was chosen, but Benvenuto’s astrological sign is a potential clue.\u003c/p>\n\u003cp>The poster for the gallery’s first exhibition (called \u003ci>Saturnalia\u003c/i>, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">The Capricorn Chronicles\u003c/a>\u003c/i>, is suitably trippy. Illustrated bursts of popcorn float above the show title. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” \u003c/p>\n\u003cfigure id=\"attachment_13875608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"778\" class=\"size-full wp-image-13875608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-1020x661.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The poster for the first Capricorn Asunder show, ‘Saturnalia,’ in 1970. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show.\u003c/p>\n\u003cp>\u003ci>The Capricorn Chronicles\u003c/i> is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours. In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix. \u003c/p>\n\u003cfigure id=\"attachment_13875612\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Documentation of past shows and catalogs in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As could be expected, there are unknowns in the gallery’s history. Notably, the years 1970 through 1983 fit into just one storage box, the result of a 1980 fire at 165 Grove, where the Arts Commission once kept its offices. The empty lot left behind by that fire would go on to become the Please Touch Community Garden, a project initially begun in 2010 by artist GK Callahan and Lighthouse for the Blind and Visually Impaired. (Due to 155 Grove’s structural instability, the garden closed in the summer of 2019.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That structural instability is inherently part of \u003ci>The Capricorn Chronicles\u003c/i>, which spans shows located in the original 155 Grove space, the gallery’s “temporary” space in the Veterans Building after 155 Grove was deemed a seismic hazard in 1994, and its more \u003ca href=\"https://www.kqed.org/arts/11263135/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center\" rel=\"noopener noreferrer\" target=\"_blank\">recently expanded\u003c/a>, permanent Veterans Building home—not to mention various City Hall installations, off-site projects and far-flung neighborhood events. \u003c/p>\n\u003cfigure id=\"attachment_13875610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ephemera from past exhibitions on display in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s captured in the mix of posters, art objects, exhibition catalogs and handwritten messages on display is a story of various art trends and movements, and of Bay Area artists responding to social and political events. That includes a 1990 action protesting the possible defunding of the National Endowment for the Arts, which resulted in a funeral-like procession to the empty lot of 165 Grove Street and the burial of a copper time capsule containing 54 works of art. This “symbolic protection against the uncertainty of the future of our First Amendment rights” was well documented by various local television stations; you can watch that footage on a media player in the gallery’s corner.\u003c/p>\n\u003cp>Each of the curators has a favorite aspect of the show, which they will happily point out to visitors. For Wazwaz, it’s the aforementioned time capsule, which was exhumed in 1995 and displayed as a reminder of the fight for freedom of expression. For Im, it’s a ridiculous stream-of-consciousness email from an exhibiting artist (“watch out because here it comes im feeling the flow”), despite then-director Rupert Jenkins’ previous plea for more concise messages. And for Carpio, it’s anything handwritten, including detailed exhibition proposals. \u003c/p>\n\u003cfigure id=\"attachment_13875609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAC Galleries staff have moved their offices into the gallery for the duration of the show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three curators remark on the emotional difference between a tangible archive and a digital one, something their work on this show drove home. Moving forward, as they make their own archival decisions about what the future needs to know about the SFAC Galleries, they have a renewed interest in capturing the present moment through printed materials. \u003c/p>\n\u003cp>Maybe in another 50 years, that exuberant bit of wall vinyl testifying to the galleries’ 100-year history will depict a visionary art experience from the 2020s. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Capricorn Chronicles’ is on view at the San Francisco Arts Commission Main Gallery through March 28. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13874695\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200.jpg\" alt=\"\" width=\"1200\" height=\"1427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-1020x1213.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rhoda Kellogg pictured in the San Francisco Examiner. \u003ccite>(Courtesy of the Rhoda Kellogg International Child Art Collection of the Golden Gate Kindergarten Association/Phoebe Hearst Preschool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>hoda Kellogg could be remembered for any number of things, but you’ve probably never heard of her. A San Francisco resident from 1945 until her death in 1989, she was a suffragette, an educator, an early childhood development advocate and an artist. On top of all that, Kellogg amassed a collection of over two million pieces of children’s art in her lifetime, perhaps the largest in the world. In recent years, a small group of devotees have taken up the mantle of promoting her life’s work, spreading Kellogg’s dedicated scholarship and radical appreciation of child art. The result of their efforts currently line an improbably adult space: City Hall’s basement.\u003c/p>\n\u003cp>Brian Belott, a found-art aficionado and ebullient visual artist, known for his fine-tuned command over what kind of trash should be pulled out of the garbage (\u003ca href=\"https://www.youtube.com/watch?v=vK-afmrSzWA\" target=\"_blank\" rel=\"noopener noreferrer\">oh and for setting his hair on fire\u003c/a>), has always loved child art. This love brought him to a storage unit in Connecticut, where he first encountered Kellogg’s millions of specimens.\u003c/p>\n\u003cp>“There were boxes and boxes, they went 20 feet to the ceiling and the pressure of the top ones had crushed the lowest ones,” he remembers. “It was chunks and chunks of art. It was like a force of nature. It was like the Grand Canyon.” With the help of the \u003ca href=\"https://www.phoebehearstpreschool.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Phoebe Hearst Preschool\u003c/a> in San Francisco, which Rhoda Kellogg founded in 1966, and preschool teacher Jennifer DiGioia, he began to archive the International Child Art Collection, and share it avidly.\u003c/p>\n\u003cp>After seeing Belott’s 2017 show \u003cem>\u003ca href=\"https://gavinbrown.biz/home/exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Kid President Jr.\u003c/a>\u003c/em> at Gavin Brown’s enterprise, which included selections from the archive, San Francisco artist Lindsey White and curator Jordan Stein couldn’t believe they’d never heard of Kellogg. So last summer, when the San Francisco Arts Commission invited them to curate a show in the basement of City Hall, they jumped at the chance to feature the un-sung legend in her own adopted home.\u003c/p>\n\u003cfigure id=\"attachment_13874686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Brian Belott’s RHODASCOPE: Scribbles, Smears, and the Universal Language of Children According to Rhoda Kellogg,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kellogg’s Collection: The Id on Parade\u003c/h2>\n\u003cp>City Hall’s basement is uniform and barren: a long hallway, scarred with unidentified doors and ornate signs. Belott was thrilled: “I thought it was the perfect architecture to parade a child’s motif through. It’s an incredible contrast to hang scribbles in a building dedicated to laws.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it is. The ubiquitous, drab hallways are transformed by \u003cem>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/brian-belott%E2%80%99s-rhodascope-scribbles-smears-and-universal-language\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Belott’s RHODASCOPE: Scribbles, Smears, and the Universal Language of Children According to Rhoda Kellogg\u003c/a>\u003c/em>. The building works like an institution-sized zoetrope. Sequences of vivacious crayon marks are set into analog motion as visitors walk through the exhibition. This is very Rhoda. In her 1969 text \u003cem>Analyzing of Children’s Art\u003c/em>, she wrote, “Scribbles, if they were an instrument, could record where and how fingertips move through the air.”\u003c/p>\n\u003cp>The 200 pieces from the International Child Art Collection are exhibited unframed, save for sheets of protective Plexiglas, and kept at a child-sized scale—presented like specimens. Made up of equal parts scribbles and finger-painted smears, the archival work conjures an inalienable kinetic energy. “Three years into the project and scribbles are my crack,” Belott gushes. “They make me bounce off the wall. They are filled with primordial energy, honest utterances, glee and static ecstasy.”\u003c/p>\n\u003cfigure id=\"attachment_13874687\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of child art in ‘Rhodascope,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carolyn M., a featured child artist, has 15 works in the show: a series of spontaneous orange and yellow marks, each elegantly partitioned to the upper-right corner of the page. Think Richard Tuttle for his confidence in minimalism; think Joan Mitchell for her fearless use of color.\u003c/p>\n\u003cp>[pullquote size='medium']The show pushes back against adult ideas of reality, privileging abstraction as a legitimate style.[/pullquote]The fame adhered to such artists for their emotional immediacy begins to feel arbitrary within the context of this exhibition. Kellogg undercuts the art market with fine-toothed grace, once declaring in a \u003ci>Psychology Today\u003c/i> article: “What the great artist struggles to achieve, the child creates naturally.” An oversized plastic stroller, molded into an ersatz sedan, full of children from City Hall’s preschool program, drives through the exhibition several times a day. Each kid is an abstract modernist.\u003c/p>\n\u003cp>The exhibited finger paintings swirl in an aura of anti-staleness. The hand movements of toddlers, fossilized in pigment, graph their own vocabulary of propellent freedom. Spirals and grids expertly fill canvases and color is embraced without apprehension.\u003c/p>\n\u003cfigure id=\"attachment_13874716\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Childs-Art-05-900x603.jpg\" alt=\"\" width=\"900\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603-768x515.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A painting by “Ann, age 2,” included in ‘Rhodascope.’ \u003ccite>(Courtesy of the Rhoda Kellogg International Child Art Collection of the Golden Gate Kindergarten Association/Phoebe Hearst Preschool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Reality is over-emphasized in kid art,” co-curator Lindsey White observes. “Parents want to control their kid’s drawings. They say, ‘Is that your mom? Is that your dad?’ instead of just letting them have a free space.” The show pushes back against adult ideas of reality, privileging abstraction as a legitimate style.\u003c/p>\n\u003cp>A selection of Kellogg’s original collages, which Belott discovered while digitizing her collection, are included in the show. It’s hard not to compare her pieces, composed of monotone, pleasingly round, abstract shapes, with the work of Ellsworth Kelly. Wall text in \u003cem>Rhodascope\u003c/em> anticipates this and reminds visitors that her inspiration came from the spontaneous abstraction of children—not a great male minimalist.\u003c/p>\n\u003ch2>Kellogg’s Scholarship: A Taxonomy of Smudges\u003c/h2>\n\u003cp>Kellogg assembled her collection with scientific fervor. As the director of Phoebe Hearst Preschool from 1966 until her death in 1989, she took home thousands of drawings. She diversified her sample by traveling internationally and soliciting work from other teachers. Each archival piece is annotated with a careful sticker, in which Kellogg scrawled descriptors like “roving enclosing line” or “multiple-line overlaid circle” in gentle cursive. Where most people might have seen nothing, Kellogg saw a physiognomy of abstraction. She cataloged the 20 or more hand techniques children use to spread paint and create texture, among them “hand twirl” and “whole palm spread.” It’s a dadaist taxonomy of smudges.\u003c/p>\n\u003cfigure id=\"attachment_13874696\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Brian Belott’s ‘Kid’s Copies,’ 2014–17 in ‘Rhodascope,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At City Hall, between the scribbles and the finger paintings, a selection of Belott’s self-described “forgeries,” inspired reproductions of favorite pieces from Kellogg’s collection, are also on display. This enclave of the exhibition overflows with color and anatomically incorrect figures, like a distorted children’s hospital. White points out a favorite painting: shades of blue seem to depict two people in gas masks vacuuming a field.\u003c/p>\n\u003cp>Rhodascope, a funny word Belott made up, is a near homonym of rotoscope, a device used by animators to trace frames of film. It points to Kellogg’s style of analysis. She traced thousands of child drawings, translating their work into thicker lines so that she could develop graphs that conveyed the information she was gathering. Perhaps like Belott, Kellogg enjoyed tracing the work of children because it temporarily allowed her to inhabit their instinctual and spontaneous mark-making.\u003c/p>\n\u003cp>A Plexiglas mandala sits at the end of the City Hall show as a kind of pinnacle. The mandala, organized by Kellogg, is meant to be read center to circumference. It shows the evolvement of simple pictorial utterances into circles divided by symmetrical crosses (mandalas themselves), and from there, essential shapes like ships, flowers, humanoids and snakes. With dozens of traced and rearranged drawings, Kellogg presents her greatest finding—a graphic representation of pictorial development in child art. After decades of research, and millions of specimens, the mandala proves her essential claim: art making is biological.\u003c/p>\n\u003cfigure id=\"attachment_13874690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rhoda Kellogg’s mandala in ‘Rhodascope,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I chant ‘biological art’ to myself all the time,” stresses Belott, “Rhoda Kellogg’s collection is a hurricane, it’s a force of nature, it’s easy to get overwhelmed, but biological art—that’s the most important thing she gave us.” Biological art is the idea that certain aesthetic forms are native to the world of children. And, that art is a universal language—everyone starts off with the same spontaneous shapes until pictures become words.\u003c/p>\n\u003cp>Jennifer DiGioia, who taught at Phoebe Hearst for over a decade, stresses the importance of letting kids just do their things. “Hands off!” She pantomimes throwing her hands up. Kellogg emphasized the importance of looking, really looking, at children’s art before trying to exercise control. The Phoebe Hearst Preschool still sports signs warning adults to “resist interrupting children’s explorations unless safety is at risk.”\u003c/p>\n\u003cp>A contemporary of Carl Jung, Kellogg saw him speak about the mandala symbol, which he viewed as an archetypical shape. He argued that it indicated the “unity of the psyche with the collective unconscious.” She noticed that the mandala was nestled everywhere in the scribbles of children, and sought to share this revelation. Now, with the help a few others, Kellogg’s scholarship, her most powerful legacy, is on display: an invitation to unlearn conventional languages and recognize the brilliance of a scribble.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Brian Belott’s RHODASCOPE: Scribbles, Smears, and the Universal Language of Children According to Rhoda Kellogg’ is on view at San Francisco City Hall through March 13, 2020. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/brian-belott%E2%80%99s-rhodascope-scribbles-smears-and-universal-language\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13874695\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200.jpg\" alt=\"\" width=\"1200\" height=\"1427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Learning-from-Children_-Rhoda-Kellog-Portrait_1200-1020x1213.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rhoda Kellogg pictured in the San Francisco Examiner. \u003ccite>(Courtesy of the Rhoda Kellogg International Child Art Collection of the Golden Gate Kindergarten Association/Phoebe Hearst Preschool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>hoda Kellogg could be remembered for any number of things, but you’ve probably never heard of her. A San Francisco resident from 1945 until her death in 1989, she was a suffragette, an educator, an early childhood development advocate and an artist. On top of all that, Kellogg amassed a collection of over two million pieces of children’s art in her lifetime, perhaps the largest in the world. In recent years, a small group of devotees have taken up the mantle of promoting her life’s work, spreading Kellogg’s dedicated scholarship and radical appreciation of child art. The result of their efforts currently line an improbably adult space: City Hall’s basement.\u003c/p>\n\u003cp>Brian Belott, a found-art aficionado and ebullient visual artist, known for his fine-tuned command over what kind of trash should be pulled out of the garbage (\u003ca href=\"https://www.youtube.com/watch?v=vK-afmrSzWA\" target=\"_blank\" rel=\"noopener noreferrer\">oh and for setting his hair on fire\u003c/a>), has always loved child art. This love brought him to a storage unit in Connecticut, where he first encountered Kellogg’s millions of specimens.\u003c/p>\n\u003cp>“There were boxes and boxes, they went 20 feet to the ceiling and the pressure of the top ones had crushed the lowest ones,” he remembers. “It was chunks and chunks of art. It was like a force of nature. It was like the Grand Canyon.” With the help of the \u003ca href=\"https://www.phoebehearstpreschool.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Phoebe Hearst Preschool\u003c/a> in San Francisco, which Rhoda Kellogg founded in 1966, and preschool teacher Jennifer DiGioia, he began to archive the International Child Art Collection, and share it avidly.\u003c/p>\n\u003cp>After seeing Belott’s 2017 show \u003cem>\u003ca href=\"https://gavinbrown.biz/home/exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Kid President Jr.\u003c/a>\u003c/em> at Gavin Brown’s enterprise, which included selections from the archive, San Francisco artist Lindsey White and curator Jordan Stein couldn’t believe they’d never heard of Kellogg. So last summer, when the San Francisco Arts Commission invited them to curate a show in the basement of City Hall, they jumped at the chance to feature the un-sung legend in her own adopted home.\u003c/p>\n\u003cfigure id=\"attachment_13874686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-05-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Brian Belott’s RHODASCOPE: Scribbles, Smears, and the Universal Language of Children According to Rhoda Kellogg,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kellogg’s Collection: The Id on Parade\u003c/h2>\n\u003cp>City Hall’s basement is uniform and barren: a long hallway, scarred with unidentified doors and ornate signs. Belott was thrilled: “I thought it was the perfect architecture to parade a child’s motif through. It’s an incredible contrast to hang scribbles in a building dedicated to laws.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it is. The ubiquitous, drab hallways are transformed by \u003cem>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/brian-belott%E2%80%99s-rhodascope-scribbles-smears-and-universal-language\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Belott’s RHODASCOPE: Scribbles, Smears, and the Universal Language of Children According to Rhoda Kellogg\u003c/a>\u003c/em>. The building works like an institution-sized zoetrope. Sequences of vivacious crayon marks are set into analog motion as visitors walk through the exhibition. This is very Rhoda. In her 1969 text \u003cem>Analyzing of Children’s Art\u003c/em>, she wrote, “Scribbles, if they were an instrument, could record where and how fingertips move through the air.”\u003c/p>\n\u003cp>The 200 pieces from the International Child Art Collection are exhibited unframed, save for sheets of protective Plexiglas, and kept at a child-sized scale—presented like specimens. Made up of equal parts scribbles and finger-painted smears, the archival work conjures an inalienable kinetic energy. “Three years into the project and scribbles are my crack,” Belott gushes. “They make me bounce off the wall. They are filled with primordial energy, honest utterances, glee and static ecstasy.”\u003c/p>\n\u003cfigure id=\"attachment_13874687\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-09-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of child art in ‘Rhodascope,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carolyn M., a featured child artist, has 15 works in the show: a series of spontaneous orange and yellow marks, each elegantly partitioned to the upper-right corner of the page. Think Richard Tuttle for his confidence in minimalism; think Joan Mitchell for her fearless use of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "The show pushes back against adult ideas of reality, privileging abstraction as a legitimate style.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The fame adhered to such artists for their emotional immediacy begins to feel arbitrary within the context of this exhibition. Kellogg undercuts the art market with fine-toothed grace, once declaring in a \u003ci>Psychology Today\u003c/i> article: “What the great artist struggles to achieve, the child creates naturally.” An oversized plastic stroller, molded into an ersatz sedan, full of children from City Hall’s preschool program, drives through the exhibition several times a day. Each kid is an abstract modernist.\u003c/p>\n\u003cp>The exhibited finger paintings swirl in an aura of anti-staleness. The hand movements of toddlers, fossilized in pigment, graph their own vocabulary of propellent freedom. Spirals and grids expertly fill canvases and color is embraced without apprehension.\u003c/p>\n\u003cfigure id=\"attachment_13874716\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Childs-Art-05-900x603.jpg\" alt=\"\" width=\"900\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Childs-Art-05-900x603-768x515.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A painting by “Ann, age 2,” included in ‘Rhodascope.’ \u003ccite>(Courtesy of the Rhoda Kellogg International Child Art Collection of the Golden Gate Kindergarten Association/Phoebe Hearst Preschool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Reality is over-emphasized in kid art,” co-curator Lindsey White observes. “Parents want to control their kid’s drawings. They say, ‘Is that your mom? Is that your dad?’ instead of just letting them have a free space.” The show pushes back against adult ideas of reality, privileging abstraction as a legitimate style.\u003c/p>\n\u003cp>A selection of Kellogg’s original collages, which Belott discovered while digitizing her collection, are included in the show. It’s hard not to compare her pieces, composed of monotone, pleasingly round, abstract shapes, with the work of Ellsworth Kelly. Wall text in \u003cem>Rhodascope\u003c/em> anticipates this and reminds visitors that her inspiration came from the spontaneous abstraction of children—not a great male minimalist.\u003c/p>\n\u003ch2>Kellogg’s Scholarship: A Taxonomy of Smudges\u003c/h2>\n\u003cp>Kellogg assembled her collection with scientific fervor. As the director of Phoebe Hearst Preschool from 1966 until her death in 1989, she took home thousands of drawings. She diversified her sample by traveling internationally and soliciting work from other teachers. Each archival piece is annotated with a careful sticker, in which Kellogg scrawled descriptors like “roving enclosing line” or “multiple-line overlaid circle” in gentle cursive. Where most people might have seen nothing, Kellogg saw a physiognomy of abstraction. She cataloged the 20 or more hand techniques children use to spread paint and create texture, among them “hand twirl” and “whole palm spread.” It’s a dadaist taxonomy of smudges.\u003c/p>\n\u003cfigure id=\"attachment_13874696\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20.jpg\" alt=\"\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-20-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Brian Belott’s ‘Kid’s Copies,’ 2014–17 in ‘Rhodascope,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At City Hall, between the scribbles and the finger paintings, a selection of Belott’s self-described “forgeries,” inspired reproductions of favorite pieces from Kellogg’s collection, are also on display. This enclave of the exhibition overflows with color and anatomically incorrect figures, like a distorted children’s hospital. White points out a favorite painting: shades of blue seem to depict two people in gas masks vacuuming a field.\u003c/p>\n\u003cp>Rhodascope, a funny word Belott made up, is a near homonym of rotoscope, a device used by animators to trace frames of film. It points to Kellogg’s style of analysis. She traced thousands of child drawings, translating their work into thicker lines so that she could develop graphs that conveyed the information she was gathering. Perhaps like Belott, Kellogg enjoyed tracing the work of children because it temporarily allowed her to inhabit their instinctual and spontaneous mark-making.\u003c/p>\n\u003cp>A Plexiglas mandala sits at the end of the City Hall show as a kind of pinnacle. The mandala, organized by Kellogg, is meant to be read center to circumference. It shows the evolvement of simple pictorial utterances into circles divided by symmetrical crosses (mandalas themselves), and from there, essential shapes like ships, flowers, humanoids and snakes. With dozens of traced and rearranged drawings, Kellogg presents her greatest finding—a graphic representation of pictorial development in child art. After decades of research, and millions of specimens, the mandala proves her essential claim: art making is biological.\u003c/p>\n\u003cfigure id=\"attachment_13874690\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2019_07-SFAC-Rhodascope-01_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rhoda Kellogg’s mandala in ‘Rhodascope,’ in San Francisco’s City Hall, 2019. \u003ccite>(Courtesy of the San Francisco Arts Commission Galleries; photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I chant ‘biological art’ to myself all the time,” stresses Belott, “Rhoda Kellogg’s collection is a hurricane, it’s a force of nature, it’s easy to get overwhelmed, but biological art—that’s the most important thing she gave us.” Biological art is the idea that certain aesthetic forms are native to the world of children. And, that art is a universal language—everyone starts off with the same spontaneous shapes until pictures become words.\u003c/p>\n\u003cp>Jennifer DiGioia, who taught at Phoebe Hearst for over a decade, stresses the importance of letting kids just do their things. “Hands off!” She pantomimes throwing her hands up. Kellogg emphasized the importance of looking, really looking, at children’s art before trying to exercise control. The Phoebe Hearst Preschool still sports signs warning adults to “resist interrupting children’s explorations unless safety is at risk.”\u003c/p>\n\u003cp>A contemporary of Carl Jung, Kellogg saw him speak about the mandala symbol, which he viewed as an archetypical shape. He argued that it indicated the “unity of the psyche with the collective unconscious.” She noticed that the mandala was nestled everywhere in the scribbles of children, and sought to share this revelation. Now, with the help a few others, Kellogg’s scholarship, her most powerful legacy, is on display: an invitation to unlearn conventional languages and recognize the brilliance of a scribble.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Brian Belott’s RHODASCOPE: Scribbles, Smears, and the Universal Language of Children According to Rhoda Kellogg’ is on view at San Francisco City Hall through March 13, 2020. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/brian-belott%E2%80%99s-rhodascope-scribbles-smears-and-universal-language\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sfac-maya-angelou-women-statues",
"title": "San Francisco's Search for a Maya Angelou Monument is Back at Square One",
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"headTitle": "San Francisco’s Search for a Maya Angelou Monument is Back at Square One | KQED",
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"content": "\u003cp>Shortly after the inauguration of Donald Trump, Margaux Kelly was looking for an antidote to the anger she felt about the president’s attitudes towards women.\u003c/p>\n\u003cp>[aside postID='arts_13872482,news_11794018,arts_13864632' label='Public Art News']\u003c/p>\n\u003cp>“My colleague and I came up with the idea of adding art pieces to the civic art collection,” said Kelly, who at the time was a young aide to then-San Francisco city supervisor Mark Farrell. “We wanted to help add additional female representation in the public realm.”\u003c/p>\n\u003cp>Their effort is taking off again as the San Francisco Arts Commission (SFAC) reboots a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. On Friday, Jan. 24, the SFAC \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Maya-Angelou-RFQ_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">issued a Request for Qualifications\u003c/a> inviting artists to submit proposals for a sculpture honoring Dr. Angelou. Specifically, a “3-dimensional statue depicting Dr. Angelou.”\u003c/p>\n\u003cp>The move comes three months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>Kelly said it was former U.S. Treasurer Rosie Rios’ efforts to put women on U.S. currency that originally inspired her to launch the initiative.\u003c/p>\n\u003cp>“Every image that I came across of a woman was an allegorical woman,” Rios said in a \u003ca href=\"https://youtu.be/FpndNAYmvhs\" target=\"_blank\" rel=\"noopener noreferrer\">2017 TED talk\u003c/a> on the topic. “It wasn’t a real woman. Kind of Lady Liberty. Or women in togas. Or sometimes no togas. But every image that I came across of a man was a real man.”\u003c/p>\n\u003cfigure id=\"attachment_13870796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Margaux Kelly. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly and her colleague learned there are nearly 90 statues of nonfictional men scattered across San Francisco’s public spaces, compared to just three of women.\u003c/p>\n\u003cp>So they drafted legislation to change that.\u003c/p>\n\u003cp>The plan was to increase the number of women honored with things like monuments and street names by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote. (The ordinance no longer specifies 30 percent representation on city property by 2020; that number is now an ongoing goal.)\u003c/p>\n\u003cp>The first woman they wanted to honor with a statue was writer and activist Maya Angelou.\u003c/p>\n\u003cp>Kelly says Angelou was the perfect fit for their ambitious first project. “She lived in San Francisco and she was the first African-American streetcar conductor here,” she explained.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also fitting that the statue was planned for outside the main branch of the San Francisco Public Library, which Angelou loved to frequent.\u003c/p>\n\u003cp>The city’s arts commission sent out a call to artists late last year. By early August, a selection panel had whittled more than 100 proposals down to just three. The front runner was a nine-foot-tall bronze book with Angelou’s face etched on the cover, designed by Berkeley-based artist Lava Thomas.\u003c/p>\n\u003cp>But in a rare move, the city turned that proposal down.\u003c/p>\n\u003cp>Kelly says that’s because it wasn’t a statue in the traditional sense.\u003c/p>\n\u003cp>“We wanted a piece of art, but we also wanted to make a political statement,” said Kelly. “The statue portion of it was important to us. And the understanding was that the end art piece would be a female figure that you could recognize was a female figure from afar.”\u003c/p>\n\u003cp>In fact, the word “statue” was written into the original legislation. This was changed after the city’s arts commissioners said the language was too restrictive.\u003c/p>\n\u003cfigure id=\"attachment_13870771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lava Thomas speaks at the Oct. 16 arts commission meeting about her disappointment in the process. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to provide artists with an opportunity to portray Maya Angelou and other women in the future in more contemporary and creative ways,” said arts commissioner Dorka Keehn of the language change.\u003c/p>\n\u003cp>But at a public meeting in mid-October, Supervisor Catherine Stefani, who worked with Kelly and her colleagues on pushing the enabling legislation through, told a room full of grim-faced arts professionals that nothing short of an actual statue of Maya Angelou would do.\u003c/p>\n\u003cp>“As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated in this city,” Stefani said.\u003c/p>\n\u003cp>Many of the people present at the meeting that day, including artist Lava Thomas, were angered by the decision. They questioned the motives behind it (someone called them “shady”) and said women should be honored differently.\u003c/p>\n\u003cp>“I can’t believe that a conservative statue in the manner of European figurative traditional monuments, that Confederate and colonial monuments are based on, that we are here discussing this in this city, San Francisco, that’s known for being progressive in every way,” Thomas said. “Come on, people!”\u003c/p>\n\u003cp>https://twitter.com/kittykendra1972/status/1192897617501442048\u003c/p>\n\u003cp>Then there are those who don’t think it’s worth building monuments at all. When KQED asked people on social media what they thought, many said they would rather see the city work to get women equal pay.\u003c/p>\n\u003cp>With the arts commission issuing a fresh callout to artists for the Maya Angelou monument, on what is SFAC head Tom DeCaigny’s last day on the job after \u003ca href=\"https://www.kqed.org/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs\" target=\"_blank\" rel=\"noopener noreferrer\">stepping down\u003c/a>, the project schedule starts over. The full arts commission is scheduled to approve panel recommendations by July 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shortly after the inauguration of Donald Trump, Margaux Kelly was looking for an antidote to the anger she felt about the president’s attitudes towards women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My colleague and I came up with the idea of adding art pieces to the civic art collection,” said Kelly, who at the time was a young aide to then-San Francisco city supervisor Mark Farrell. “We wanted to help add additional female representation in the public realm.”\u003c/p>\n\u003cp>Their effort is taking off again as the San Francisco Arts Commission (SFAC) reboots a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. On Friday, Jan. 24, the SFAC \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Maya-Angelou-RFQ_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">issued a Request for Qualifications\u003c/a> inviting artists to submit proposals for a sculpture honoring Dr. Angelou. Specifically, a “3-dimensional statue depicting Dr. Angelou.”\u003c/p>\n\u003cp>The move comes three months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>Kelly said it was former U.S. Treasurer Rosie Rios’ efforts to put women on U.S. currency that originally inspired her to launch the initiative.\u003c/p>\n\u003cp>“Every image that I came across of a woman was an allegorical woman,” Rios said in a \u003ca href=\"https://youtu.be/FpndNAYmvhs\" target=\"_blank\" rel=\"noopener noreferrer\">2017 TED talk\u003c/a> on the topic. “It wasn’t a real woman. Kind of Lady Liberty. Or women in togas. Or sometimes no togas. But every image that I came across of a man was a real man.”\u003c/p>\n\u003cfigure id=\"attachment_13870796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Margaux Kelly. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly and her colleague learned there are nearly 90 statues of nonfictional men scattered across San Francisco’s public spaces, compared to just three of women.\u003c/p>\n\u003cp>So they drafted legislation to change that.\u003c/p>\n\u003cp>The plan was to increase the number of women honored with things like monuments and street names by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote. (The ordinance no longer specifies 30 percent representation on city property by 2020; that number is now an ongoing goal.)\u003c/p>\n\u003cp>The first woman they wanted to honor with a statue was writer and activist Maya Angelou.\u003c/p>\n\u003cp>Kelly says Angelou was the perfect fit for their ambitious first project. “She lived in San Francisco and she was the first African-American streetcar conductor here,” she explained.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also fitting that the statue was planned for outside the main branch of the San Francisco Public Library, which Angelou loved to frequent.\u003c/p>\n\u003cp>The city’s arts commission sent out a call to artists late last year. By early August, a selection panel had whittled more than 100 proposals down to just three. The front runner was a nine-foot-tall bronze book with Angelou’s face etched on the cover, designed by Berkeley-based artist Lava Thomas.\u003c/p>\n\u003cp>But in a rare move, the city turned that proposal down.\u003c/p>\n\u003cp>Kelly says that’s because it wasn’t a statue in the traditional sense.\u003c/p>\n\u003cp>“We wanted a piece of art, but we also wanted to make a political statement,” said Kelly. “The statue portion of it was important to us. And the understanding was that the end art piece would be a female figure that you could recognize was a female figure from afar.”\u003c/p>\n\u003cp>In fact, the word “statue” was written into the original legislation. This was changed after the city’s arts commissioners said the language was too restrictive.\u003c/p>\n\u003cfigure id=\"attachment_13870771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lava Thomas speaks at the Oct. 16 arts commission meeting about her disappointment in the process. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to provide artists with an opportunity to portray Maya Angelou and other women in the future in more contemporary and creative ways,” said arts commissioner Dorka Keehn of the language change.\u003c/p>\n\u003cp>But at a public meeting in mid-October, Supervisor Catherine Stefani, who worked with Kelly and her colleagues on pushing the enabling legislation through, told a room full of grim-faced arts professionals that nothing short of an actual statue of Maya Angelou would do.\u003c/p>\n\u003cp>“As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated in this city,” Stefani said.\u003c/p>\n\u003cp>Many of the people present at the meeting that day, including artist Lava Thomas, were angered by the decision. They questioned the motives behind it (someone called them “shady”) and said women should be honored differently.\u003c/p>\n\u003cp>“I can’t believe that a conservative statue in the manner of European figurative traditional monuments, that Confederate and colonial monuments are based on, that we are here discussing this in this city, San Francisco, that’s known for being progressive in every way,” Thomas said. “Come on, people!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then there are those who don’t think it’s worth building monuments at all. When KQED asked people on social media what they thought, many said they would rather see the city work to get women equal pay.\u003c/p>\n\u003cp>With the arts commission issuing a fresh callout to artists for the Maya Angelou monument, on what is SFAC head Tom DeCaigny’s last day on the job after \u003ca href=\"https://www.kqed.org/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs\" target=\"_blank\" rel=\"noopener noreferrer\">stepping down\u003c/a>, the project schedule starts over. The full arts commission is scheduled to approve panel recommendations by July 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Begins Search for New Head of Cultural Affairs",
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"content": "\u003cp>The City of San Francisco is on the hunt for a new director of cultural affairs, since the person whose been running the city’s \u003ca href=\"https://sfgov.org/arts/\" target=\"_blank\" rel=\"noopener noreferrer\">arts commission\u003c/a> for the past eight years, \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/the-commission\" target=\"_blank\" rel=\"noopener noreferrer\">Tom DeCaigny\u003c/a>, announced he is stepping down late last week.\u003c/p>\n\u003cp>The San Francisco Arts Commission will be working with Mayor London Breed’s office to hire DeCaigny’s replacement over the coming months.\u003c/p>\n\u003cp>In the meantime, the city has appointed Rebekah Krell as acting director. Krell is currently the arts commission’s deputy director of finance and administration, and previously served as a legislative aide and mayor’s office budget analyst.\u003c/p>\n\u003cp>In a phone interview, DeCaigny said he is leaving the job to take a new position as executive director of the \u003ca href=\"https://www.artsed411.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Alliance for Arts Education\u003c/a> (CAAE).\u003c/p>\n\u003cp>“It’s bittersweet,” said DeCaigny of his decision to leave the arts commission. “But I have an amazing opportunity to work at the state level.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director of cultural affairs oversees many aspects of the city’s artistic output from commissioning public artworks to giving out grants.\u003c/p>\n\u003cp>“It’s a difficult, multifaceted job,” said former head of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Grants for the Arts\u003c/a>, Kary Schulman. She worked with DeCaigny and “six or seven” of his predecessors over the decades before retiring last year.\u003c/p>\n\u003cp>“Tom brought a consistent management style based on the needs of the agency that was not capricious or ideological,” said Schulman. “He brought a public service lens to the arts commission, really seeing it as serving the public. He also brought kindness to the job.” \u003c/p>\n\u003cp>During his tenure, DeCaigny doubled the arts commission’s annual budget to $40 million. He helped to pass Proposition E, which secured funds from the city’s hotel tax revenue for arts and culture purposes in perpetuity. He adopted the arts commission’s first Racial Equity Plan, and removed the contentious, colonialist \u003ci>Early Days\u003c/i> statue from San Francisco’s Civic Center, among other accomplishments.\u003c/p>\n\u003cp>“What made Tom a great leader and highly respected colleague was that he could play nice in the sandbox while still fiercely advocating for the arts,” said City Librarian Michael Lambert. “His strong support of the removal of the \u003ci>Early Days\u003c/i> sculpture will have a lasting positive impact for years to come.”\u003c/p>\n\u003cp>But DeCaigny regrets his inability to secure federal funding to create affordable housing for artists.\u003c/p>\n\u003cp>“Artists are a protected class for affordable housing,” DeCaigny said. “But we have not gotten political commitment to get federal dollars for this. So we haven’t yet been able to break ground on any projects, though we do have some sites identified.”\u003c/p>\n\u003cp>DeCaigny said he hopes his successor will make obtaining affordable housing for artists a priority.\u003c/p>\n\u003cp>He also had to deal with fraught city hall politics, most recently around the the city’s stalled plans to build a monument to Maya Angelou outside the main branch of the public library. DeCaigny said his team is working through the issues. He said he expects the new callout to artists for the commission to go out before his last day, on Friday, Jan. 24.\u003c/p>\n\u003cp>Life has arguably become tougher for artists and arts organizations in San Francisco since DeCaigny took office in 2012. Although the Prop E win will secure more dollars for cultural activities in the city going forwards, the increasing out-migration of the cultural community owing to ever-escalating rents, as well as growing disparities between the haves and have-nots, is likely make the next director of cultural affairs’ job particularly challenging.\u003c/p>\n\u003cp>Members of the local arts community agree the new hire will have their work cut out for them.\u003c/p>\n\u003cp>“It’s my hope that the next director will take steps to address and support affordable space,” said Moy Eng, who runs the Community Arts Stabilization Trust (CAST), a San Francisco-based affordable art-space development nonprofit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Without a clear vision for the city—not just the arts—we are so fragile,” said Yerba Buena Center for the Arts CEO, Deborah Cullinan. “The arts community is so critical and also decimated. We need a bold leader who can engage city leadership around vision and the critical role that artists play in any vibrant city.”\u003c/p>\n\n",
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"excerpt": "The city has appointed arts commission staffer Rebekah Krell as acting director while it undertakes its search.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of San Francisco is on the hunt for a new director of cultural affairs, since the person whose been running the city’s \u003ca href=\"https://sfgov.org/arts/\" target=\"_blank\" rel=\"noopener noreferrer\">arts commission\u003c/a> for the past eight years, \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/the-commission\" target=\"_blank\" rel=\"noopener noreferrer\">Tom DeCaigny\u003c/a>, announced he is stepping down late last week.\u003c/p>\n\u003cp>The San Francisco Arts Commission will be working with Mayor London Breed’s office to hire DeCaigny’s replacement over the coming months.\u003c/p>\n\u003cp>In the meantime, the city has appointed Rebekah Krell as acting director. Krell is currently the arts commission’s deputy director of finance and administration, and previously served as a legislative aide and mayor’s office budget analyst.\u003c/p>\n\u003cp>In a phone interview, DeCaigny said he is leaving the job to take a new position as executive director of the \u003ca href=\"https://www.artsed411.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Alliance for Arts Education\u003c/a> (CAAE).\u003c/p>\n\u003cp>“It’s bittersweet,” said DeCaigny of his decision to leave the arts commission. “But I have an amazing opportunity to work at the state level.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director of cultural affairs oversees many aspects of the city’s artistic output from commissioning public artworks to giving out grants.\u003c/p>\n\u003cp>“It’s a difficult, multifaceted job,” said former head of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Grants for the Arts\u003c/a>, Kary Schulman. She worked with DeCaigny and “six or seven” of his predecessors over the decades before retiring last year.\u003c/p>\n\u003cp>“Tom brought a consistent management style based on the needs of the agency that was not capricious or ideological,” said Schulman. “He brought a public service lens to the arts commission, really seeing it as serving the public. He also brought kindness to the job.” \u003c/p>\n\u003cp>During his tenure, DeCaigny doubled the arts commission’s annual budget to $40 million. He helped to pass Proposition E, which secured funds from the city’s hotel tax revenue for arts and culture purposes in perpetuity. He adopted the arts commission’s first Racial Equity Plan, and removed the contentious, colonialist \u003ci>Early Days\u003c/i> statue from San Francisco’s Civic Center, among other accomplishments.\u003c/p>\n\u003cp>“What made Tom a great leader and highly respected colleague was that he could play nice in the sandbox while still fiercely advocating for the arts,” said City Librarian Michael Lambert. “His strong support of the removal of the \u003ci>Early Days\u003c/i> sculpture will have a lasting positive impact for years to come.”\u003c/p>\n\u003cp>But DeCaigny regrets his inability to secure federal funding to create affordable housing for artists.\u003c/p>\n\u003cp>“Artists are a protected class for affordable housing,” DeCaigny said. “But we have not gotten political commitment to get federal dollars for this. So we haven’t yet been able to break ground on any projects, though we do have some sites identified.”\u003c/p>\n\u003cp>DeCaigny said he hopes his successor will make obtaining affordable housing for artists a priority.\u003c/p>\n\u003cp>He also had to deal with fraught city hall politics, most recently around the the city’s stalled plans to build a monument to Maya Angelou outside the main branch of the public library. DeCaigny said his team is working through the issues. He said he expects the new callout to artists for the commission to go out before his last day, on Friday, Jan. 24.\u003c/p>\n\u003cp>Life has arguably become tougher for artists and arts organizations in San Francisco since DeCaigny took office in 2012. Although the Prop E win will secure more dollars for cultural activities in the city going forwards, the increasing out-migration of the cultural community owing to ever-escalating rents, as well as growing disparities between the haves and have-nots, is likely make the next director of cultural affairs’ job particularly challenging.\u003c/p>\n\u003cp>Members of the local arts community agree the new hire will have their work cut out for them.\u003c/p>\n\u003cp>“It’s my hope that the next director will take steps to address and support affordable space,” said Moy Eng, who runs the Community Arts Stabilization Trust (CAST), a San Francisco-based affordable art-space development nonprofit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Without a clear vision for the city—not just the arts—we are so fragile,” said Yerba Buena Center for the Arts CEO, Deborah Cullinan. “The arts community is so critical and also decimated. We need a bold leader who can engage city leadership around vision and the critical role that artists play in any vibrant city.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Arts Commission is rebooting a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. The move comes nearly two months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>The proposed monument is part of an overall plan to increase the number of women honored with monuments, street names and other public-facing outlets by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote.\u003c/p>\n\u003cp>KQED Arts will release the full web story about the city’s plans when the arts commission unveils its new callout to artists early in 2020. For now, please click the play button above for the audio version, which KQED News aired on Dec. 5, 2019.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Arts Commission is rebooting a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. The move comes nearly two months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>The proposed monument is part of an overall plan to increase the number of women honored with monuments, street names and other public-facing outlets by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote.\u003c/p>\n\u003cp>KQED Arts will release the full web story about the city’s plans when the arts commission unveils its new callout to artists early in 2020. For now, please click the play button above for the audio version, which KQED News aired on Dec. 5, 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Plans to erect a major new monument in San Francisco honoring poet \u003ca href=\"https://www.mayaangelou.com/\" target=\"_blank\" rel=\"noopener\">Maya Angelou\u003c/a> now face a long delay, following a decision by city officials to scrap the city arts commission’s recommended proposal.\u003c/p>\n\u003cp>Around two months ago, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>‘s Visual Arts Committee selected Bay Area artist \u003ca href=\"http://www.lavathomas.com/\" target=\"_blank\" rel=\"noopener\">Lava Thomas\u003c/a>‘ proposal from a pool of three finalists.\u003c/p>\n\u003cp>The artwork, titled \u003ci>Portrait of a Phenomenal Woman\u003c/i>, was to stand outside the main branch of the \u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The verso of Lava Thomas’ ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But city officials said Thomas’ proposal for a nine-foot-tall book made out of bronze with Angelou’s face cast on the cover wasn’t “figurative” enough—in other words, that it was too abstract and conceptual.\u003c/p>\n\u003cp>They have ordered the arts commission to start the process over from scratch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-october-16-2019-agenda\" target=\"_blank\" rel=\"noopener\">visual arts committee meeting Wednesday\u003c/a>, San Francisco supervisor \u003ca href=\"https://sfbos.org/supervisor-stefani-district-2\" target=\"_blank\" rel=\"noopener\">Catherine Stefani\u003c/a>, who authored the legislation to commission the Angelou monument, explained the intent behind her legislation and the reason for the city’s decision.\u003c/p>\n\u003cp>“The legislation I wrote was clear: that the Maya Angelou statue be a significant figurative representation of Maya Angelou,” Stefani said. “As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated this city.”\u003c/p>\n\u003cp>Stefani said that the city’s call for proposals may not have been worded clearly enough, adding that it was unfair to the competing artists.\u003c/p>\n\u003cp>“I feel like the only fair way to be fair here is to give all the artists to meet the legislative intent by issuing a new RFP [Request for Proposals] with clear criteria that adheres to the legislative intent,” Stefani said.\u003c/p>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Acting director of cultural affairs, Joanne Lee, issued the following statement shortly after the meeting:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Given the lack of clear consensus on the selection, the Arts Commission’s Visual Arts Committee felt the best move would be to start this process over, and seek a more unifying outcome. All artists who responded to the Request for Qualifications will be invited to compete in the next public RFQ. This will be an important, permanent work of public art. It’s more important to get it done right than to get it done fast.\u003c/p>\n\u003c/blockquote>\n\u003cp>Members of the Bay Area arts community present at the meeting responded with dismay and anger, including Thomas herself. “The fact that an artist—a black woman—is disrespected in this way, in the name of honoring another black woman?” Thomas said. “Give me a break.”\u003c/p>\n\u003cfigure id=\"attachment_13868308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg\" alt=\"Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting. Oct. 16, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area resident and former vice president of the city’s planning commission, Edward Sewell, read aloud a letter from Angelou’s son, Guy Johnson. Johnson was a member of the selection panel for the project, though not present at the Wednesday meeting.\u003c/p>\n\u003cp>“I freely admit Ms. Thomas was not my first choice,” Johnson wrote in his letter, as dictated by Sewell. “But she was selected by a democratic process and I was fine with that.”\u003c/p>\n\u003cfigure id=\"attachment_13868307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg\" alt=\"Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Angelou work is the first in a larger initiative to close the gender gap among San Francisco’s public monuments. So far, of the city’s roughly 90 statues, less than a handful honor nonfictional women—among them, Dianne Feinstein and Florence Nightingale.\u003c/p>\n\u003cp>More than 100 artists responded to the art commission’s call for proposals in November 2018. An \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-august-21-2019-agenda\" target=\"_blank\" rel=\"noopener\">Arts Commission document\u003c/a> states the maximum budget for the Maya Angelou statue, including design, engineering, fabrication, consultation and transportation, is $180,000. The two other shortlisted proposals were by \u003ca href=\"http://www.julesarthur.com/\" target=\"_blank\" rel=\"noopener\">Jules Arthur\u003c/a> and \u003ca href=\"https://www.kachstudio.com/\" target=\"_blank\" rel=\"noopener\">Kenyatta A.C. Hinkle\u003c/a>.\u003c/p>\n\u003cp>“I was excited when I found out I was one of the three finalists,” Thomas said in a phone interview at the time she was informed that she had been recommended for the commission, back in August. “When I found out I’d been selected, I was elated and surprised.”\u003c/p>\n\u003cp>Angelou was a longtime resident of San Francisco. She moved to the city as a young girl in the early 1940s. She attended George Washington High School and studied dance and drama on a scholarship at the California Labor School. She was a regular attendee at Glide Memorial Church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the arts commission said the city is confident about selecting a new proposal for the project by the end of next year, before the enabling legislation expires.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plans to erect a major new monument in San Francisco honoring poet \u003ca href=\"https://www.mayaangelou.com/\" target=\"_blank\" rel=\"noopener\">Maya Angelou\u003c/a> now face a long delay, following a decision by city officials to scrap the city arts commission’s recommended proposal.\u003c/p>\n\u003cp>Around two months ago, the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>‘s Visual Arts Committee selected Bay Area artist \u003ca href=\"http://www.lavathomas.com/\" target=\"_blank\" rel=\"noopener\">Lava Thomas\u003c/a>‘ proposal from a pool of three finalists.\u003c/p>\n\u003cp>The artwork, titled \u003ci>Portrait of a Phenomenal Woman\u003c/i>, was to stand outside the main branch of the \u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The verso of Lava Thomas’ ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But city officials said Thomas’ proposal for a nine-foot-tall book made out of bronze with Angelou’s face cast on the cover wasn’t “figurative” enough—in other words, that it was too abstract and conceptual.\u003c/p>\n\u003cp>They have ordered the arts commission to start the process over from scratch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-october-16-2019-agenda\" target=\"_blank\" rel=\"noopener\">visual arts committee meeting Wednesday\u003c/a>, San Francisco supervisor \u003ca href=\"https://sfbos.org/supervisor-stefani-district-2\" target=\"_blank\" rel=\"noopener\">Catherine Stefani\u003c/a>, who authored the legislation to commission the Angelou monument, explained the intent behind her legislation and the reason for the city’s decision.\u003c/p>\n\u003cp>“The legislation I wrote was clear: that the Maya Angelou statue be a significant figurative representation of Maya Angelou,” Stefani said. “As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated this city.”\u003c/p>\n\u003cp>Stefani said that the city’s call for proposals may not have been worded clearly enough, adding that it was unfair to the competing artists.\u003c/p>\n\u003cp>“I feel like the only fair way to be fair here is to give all the artists to meet the legislative intent by issuing a new RFP [Request for Proposals] with clear criteria that adheres to the legislative intent,” Stefani said.\u003c/p>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Acting director of cultural affairs, Joanne Lee, issued the following statement shortly after the meeting:\u003c/p>\n\u003cblockquote>\n\u003cp class=\"x_yiv6951893434MsoNormal\">Given the lack of clear consensus on the selection, the Arts Commission’s Visual Arts Committee felt the best move would be to start this process over, and seek a more unifying outcome. All artists who responded to the Request for Qualifications will be invited to compete in the next public RFQ. This will be an important, permanent work of public art. It’s more important to get it done right than to get it done fast.\u003c/p>\n\u003c/blockquote>\n\u003cp>Members of the Bay Area arts community present at the meeting responded with dismay and anger, including Thomas herself. “The fact that an artist—a black woman—is disrespected in this way, in the name of honoring another black woman?” Thomas said. “Give me a break.”\u003c/p>\n\u003cfigure id=\"attachment_13868308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg\" alt=\"Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39520_lava-thomas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Lava Thomas speaks her mind at the arts commission visual arts committee meeting. Oct. 16, 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area resident and former vice president of the city’s planning commission, Edward Sewell, read aloud a letter from Angelou’s son, Guy Johnson. Johnson was a member of the selection panel for the project, though not present at the Wednesday meeting.\u003c/p>\n\u003cp>“I freely admit Ms. Thomas was not my first choice,” Johnson wrote in his letter, as dictated by Sewell. “But she was selected by a democratic process and I was fine with that.”\u003c/p>\n\u003cfigure id=\"attachment_13868307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg\" alt=\"Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39521_edward-sewell-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Sewell reads aloud from a letter by Guy Johnson, the son of Maya Angelou, at the Oct. 16 arts commission visual arts committee meeting. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Angelou work is the first in a larger initiative to close the gender gap among San Francisco’s public monuments. So far, of the city’s roughly 90 statues, less than a handful honor nonfictional women—among them, Dianne Feinstein and Florence Nightingale.\u003c/p>\n\u003cp>More than 100 artists responded to the art commission’s call for proposals in November 2018. An \u003ca href=\"https://sfgov.org/arts/meeting/visual-arts-committee-august-21-2019-agenda\" target=\"_blank\" rel=\"noopener\">Arts Commission document\u003c/a> states the maximum budget for the Maya Angelou statue, including design, engineering, fabrication, consultation and transportation, is $180,000. The two other shortlisted proposals were by \u003ca href=\"http://www.julesarthur.com/\" target=\"_blank\" rel=\"noopener\">Jules Arthur\u003c/a> and \u003ca href=\"https://www.kachstudio.com/\" target=\"_blank\" rel=\"noopener\">Kenyatta A.C. Hinkle\u003c/a>.\u003c/p>\n\u003cp>“I was excited when I found out I was one of the three finalists,” Thomas said in a phone interview at the time she was informed that she had been recommended for the commission, back in August. “When I found out I’d been selected, I was elated and surprised.”\u003c/p>\n\u003cp>Angelou was a longtime resident of San Francisco. She moved to the city as a young girl in the early 1940s. She attended George Washington High School and studied dance and drama on a scholarship at the California Labor School. She was a regular attendee at Glide Memorial Church.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the arts commission said the city is confident about selecting a new proposal for the project by the end of next year, before the enabling legislation expires.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Activists' Messages Line Market Street, Route of Historic Marches",
"headTitle": "Activists’ Messages Line Market Street, Route of Historic Marches | KQED",
"content": "\u003cp>The latest crop of \u003ca href=\"https://www.sfartscommission.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Arts Commission\u003c/a> Art on Market Street posters may at first glance look like a series of inspirational quotes. “Consciousness is power,” reads one bus stop kiosk. “Tomorrow’s world is yours to build.” \u003c/p>\n\u003cp>But there’s more to those messages than a dose of optimism: Each quote from a prominent author or activist, selected by artist \u003ca href=\"https://jessalynaaland.com/\" rel=\"noopener\" target=\"_blank\">Jessalyn Aaland\u003c/a>, opens the door to a deeper understanding of Market Street as a site of history-making marches and demonstrations. Informing the candy-colored posters is research on nearly 125 years of localized dissent, all part of a larger undertaking meant to provide future generations with the tools to make their voices heard.\u003c/p>\n\u003cp>The nine bus stop designs, which will remain on view through October, are enlarged versions of Risograph prints Aaland produced as part of \u003ci>\u003ca href=\"https://classset.org/\" rel=\"noopener\" target=\"_blank\">Class Set\u003c/a>\u003c/i>, an ongoing project that distributes free artist-designed posters to K–12 classrooms. (Full disclosure: this writer contributed a design for \u003ci>Class Set Volume 1\u003c/i> in 2016).\u003c/p>\n\u003cfigure id=\"attachment_13865301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/main_1200.jpg\" alt=\"The full group of posters to be distributed in 'Class Set Volume 3,' 2019.\" width=\"1200\" height=\"770\" class=\"size-full wp-image-13865301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The full group of posters to be distributed in ‘Class Set Volume 3,’ 2019. \u003ccite>(Courtesy of Jessalyn Aaland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, Aaland has distributed over 10,890 posters to classrooms across the United States; each volume is also available for sale to non-teachers, and proceeds from those sales help fund the next round of posters. The project is inspired by Aaland’s past experience as a teacher at San Francisco’s Balboa High School, where she inherited a classroom of peeling paint, broken lights, water-stained ceiling tiles and (fittingly) a clock frozen in time.\u003c/p>\n\u003cp>While Aaland livened up the space with her own art, student work and contributions from artist friends, she knew other teachers relied on a hodgepodge of free posters to decorate their walls. \u003ci>Class Set\u003c/i> combines positive, progressive messages with contemporary art aesthetics. Aaland sees her role as that of the commissioning body; she picks the quotes, solicits the artwork and prints the posters with her partner, Paul Morgan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I like to get artists who use pattern and color, maybe things that are mysterious or unexpected in text,” she says of \u003ci>Class Set\u003c/i>’s look. “For me this work falls under social practice: working with other people to use art as a tool to do something useful.”\u003c/p>\n\u003cp>In this third iteration of the project, Aaland decided to address the Art on Market Street poster theme (“24/7”) by deeply researching the history of protests on the thoroughfare or in nearby neighborhoods like the Tenderloin, SoMA and Civic Center. \u003c/p>\n\u003cp>“I spent a lot of time watching—this was a really intense research process actually—so I was watching videos of certain protests to confirm if they went down Market Street or not,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13865299\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg\" alt=\"Spread from Jessalyn Aaland's 'A Brief and Inconclusive History of Protests on San Francisco's Market Street,' 2019. \" width=\"1200\" height=\"872\" class=\"size-full wp-image-13865299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-1020x741.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Spread from Jessalyn Aaland’s ‘A Brief and Inconclusive History of Protests on San Francisco’s Market Street,’ 2019. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a residency at Oakland’s \u003ca href=\"https://www.realtimeandspace.org/\" rel=\"noopener\" target=\"_blank\">Real Time and Space\u003c/a> earlier this year, Aaland compiled her research into a zine titled \u003ci>A Brief and Inconclusive History of Protests on San Francisco’s Market Street\u003c/i>. “Part of my interest as an artist (and former educator) is helping ordinary people see that their potential role in transforming our future is not that far out of reach,” she writes in the zine’s introduction. \u003c/p>\n\u003cp>In the zine, Aaland connects each quote to three events linked by themes like “transportation-related activism,” “labor demonstrations and strikes,” and “anti-war marches.” Some of the events, Aaland says, were well known to her, others completely new. \u003c/p>\n\u003cp>“Finding out about the Great Bicycle Protest of 1896 was pretty amazing,” she says. (Nineteenth-century cyclists rode en masse to protest poor road conditions on Market Street.) Aaland traces the legacy of that event to a 1972 protest for a dedicated bike lane and the 1992 “mobile traffic clot” that launched Critical Mass.\u003c/p>\n\u003cp>“At a time when there’s a lot of frustrating things about living here, it was really exciting and enriching to read about this history,” Aaland says. “It’s reinvigorating to be reminded of that history—that we live in this place that’s so rich and has actually changed a huge amount of things on the social and political landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13865302\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg\" alt=\"Poster designed by Jesjit Gil in a Market Street bus kiosk.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Jesjit Gil in a Market Street bus kiosk. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while this historical information isn’t included on the Market Street posters themselves, a small note running up the left side of each design points people to the \u003ci>Class Set\u003c/i> website, where Aaland provides a \u003ca href=\"https://classset.org/Curriculum\" rel=\"noopener\" target=\"_blank\">teacher’s guide\u003c/a> (distributed in booklet form with each set of posters heading to a classroom) filled with ideas for discussions and activities centered around poster design and—\u003ca href=\"https://files.cargocollective.com/766347/ClassSet-TeacherCompanion-Vol3.pdf\" rel=\"noopener\" target=\"_blank\">for Volume 3\u003c/a>—youth activism. \u003c/p>\n\u003cp>“High school students are getting involved in protests, but they don’t necessarily know how to do that safely,” Aaland says. In 2017, she produced a zine called \u003ci>\u003ca href=\"https://jessalynaaland.com/Guide-for-Youth-Protestors-2017\" rel=\"noopener\" target=\"_blank\">Guide for Youth Protestors\u003c/a>\u003c/i>; the scenarios put forward in the Volume 3 booklet cover issues of dealing with counter-protestors, tear gas and post-protest consequences at school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even if the average Muni rider doesn’t go the extra mile to unlock all this background information, Aaland hopes they’ll get something out of the series. “I think it’s this feeling that it’s within reach to make social change, that you can participate,” she says. “There’s all these kinds of small things that you can do if you’re empowered and start taking action, even on a micro level. So I’m just hoping it might inspire someone to think about things they could do in their life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest crop of \u003ca href=\"https://www.sfartscommission.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Arts Commission\u003c/a> Art on Market Street posters may at first glance look like a series of inspirational quotes. “Consciousness is power,” reads one bus stop kiosk. “Tomorrow’s world is yours to build.” \u003c/p>\n\u003cp>But there’s more to those messages than a dose of optimism: Each quote from a prominent author or activist, selected by artist \u003ca href=\"https://jessalynaaland.com/\" rel=\"noopener\" target=\"_blank\">Jessalyn Aaland\u003c/a>, opens the door to a deeper understanding of Market Street as a site of history-making marches and demonstrations. Informing the candy-colored posters is research on nearly 125 years of localized dissent, all part of a larger undertaking meant to provide future generations with the tools to make their voices heard.\u003c/p>\n\u003cp>The nine bus stop designs, which will remain on view through October, are enlarged versions of Risograph prints Aaland produced as part of \u003ci>\u003ca href=\"https://classset.org/\" rel=\"noopener\" target=\"_blank\">Class Set\u003c/a>\u003c/i>, an ongoing project that distributes free artist-designed posters to K–12 classrooms. (Full disclosure: this writer contributed a design for \u003ci>Class Set Volume 1\u003c/i> in 2016).\u003c/p>\n\u003cfigure id=\"attachment_13865301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/main_1200.jpg\" alt=\"The full group of posters to be distributed in 'Class Set Volume 3,' 2019.\" width=\"1200\" height=\"770\" class=\"size-full wp-image-13865301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/main_1200-1020x655.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The full group of posters to be distributed in ‘Class Set Volume 3,’ 2019. \u003ccite>(Courtesy of Jessalyn Aaland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, Aaland has distributed over 10,890 posters to classrooms across the United States; each volume is also available for sale to non-teachers, and proceeds from those sales help fund the next round of posters. The project is inspired by Aaland’s past experience as a teacher at San Francisco’s Balboa High School, where she inherited a classroom of peeling paint, broken lights, water-stained ceiling tiles and (fittingly) a clock frozen in time.\u003c/p>\n\u003cp>While Aaland livened up the space with her own art, student work and contributions from artist friends, she knew other teachers relied on a hodgepodge of free posters to decorate their walls. \u003ci>Class Set\u003c/i> combines positive, progressive messages with contemporary art aesthetics. Aaland sees her role as that of the commissioning body; she picks the quotes, solicits the artwork and prints the posters with her partner, Paul Morgan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like to get artists who use pattern and color, maybe things that are mysterious or unexpected in text,” she says of \u003ci>Class Set\u003c/i>’s look. “For me this work falls under social practice: working with other people to use art as a tool to do something useful.”\u003c/p>\n\u003cp>In this third iteration of the project, Aaland decided to address the Art on Market Street poster theme (“24/7”) by deeply researching the history of protests on the thoroughfare or in nearby neighborhoods like the Tenderloin, SoMA and Civic Center. \u003c/p>\n\u003cp>“I spent a lot of time watching—this was a really intense research process actually—so I was watching videos of certain protests to confirm if they went down Market Street or not,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13865299\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg\" alt=\"Spread from Jessalyn Aaland's 'A Brief and Inconclusive History of Protests on San Francisco's Market Street,' 2019. \" width=\"1200\" height=\"872\" class=\"size-full wp-image-13865299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BriefHistory_BikeSpread_1200-1020x741.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Spread from Jessalyn Aaland’s ‘A Brief and Inconclusive History of Protests on San Francisco’s Market Street,’ 2019. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a residency at Oakland’s \u003ca href=\"https://www.realtimeandspace.org/\" rel=\"noopener\" target=\"_blank\">Real Time and Space\u003c/a> earlier this year, Aaland compiled her research into a zine titled \u003ci>A Brief and Inconclusive History of Protests on San Francisco’s Market Street\u003c/i>. “Part of my interest as an artist (and former educator) is helping ordinary people see that their potential role in transforming our future is not that far out of reach,” she writes in the zine’s introduction. \u003c/p>\n\u003cp>In the zine, Aaland connects each quote to three events linked by themes like “transportation-related activism,” “labor demonstrations and strikes,” and “anti-war marches.” Some of the events, Aaland says, were well known to her, others completely new. \u003c/p>\n\u003cp>“Finding out about the Great Bicycle Protest of 1896 was pretty amazing,” she says. (Nineteenth-century cyclists rode en masse to protest poor road conditions on Market Street.) Aaland traces the legacy of that event to a 1972 protest for a dedicated bike lane and the 1992 “mobile traffic clot” that launched Critical Mass.\u003c/p>\n\u003cp>“At a time when there’s a lot of frustrating things about living here, it was really exciting and enriching to read about this history,” Aaland says. “It’s reinvigorating to be reminded of that history—that we live in this place that’s so rich and has actually changed a huge amount of things on the social and political landscape.”\u003c/p>\n\u003cfigure id=\"attachment_13865302\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg\" alt=\"Poster designed by Jesjit Gil in a Market Street bus kiosk.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13865302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Huerta_MarketStreet_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Poster designed by Jesjit Gil in a Market Street bus kiosk. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while this historical information isn’t included on the Market Street posters themselves, a small note running up the left side of each design points people to the \u003ci>Class Set\u003c/i> website, where Aaland provides a \u003ca href=\"https://classset.org/Curriculum\" rel=\"noopener\" target=\"_blank\">teacher’s guide\u003c/a> (distributed in booklet form with each set of posters heading to a classroom) filled with ideas for discussions and activities centered around poster design and—\u003ca href=\"https://files.cargocollective.com/766347/ClassSet-TeacherCompanion-Vol3.pdf\" rel=\"noopener\" target=\"_blank\">for Volume 3\u003c/a>—youth activism. \u003c/p>\n\u003cp>“High school students are getting involved in protests, but they don’t necessarily know how to do that safely,” Aaland says. In 2017, she produced a zine called \u003ci>\u003ca href=\"https://jessalynaaland.com/Guide-for-Youth-Protestors-2017\" rel=\"noopener\" target=\"_blank\">Guide for Youth Protestors\u003c/a>\u003c/i>; the scenarios put forward in the Volume 3 booklet cover issues of dealing with counter-protestors, tear gas and post-protest consequences at school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even if the average Muni rider doesn’t go the extra mile to unlock all this background information, Aaland hopes they’ll get something out of the series. “I think it’s this feeling that it’s within reach to make social change, that you can participate,” she says. “There’s all these kinds of small things that you can do if you’re empowered and start taking action, even on a micro level. So I’m just hoping it might inspire someone to think about things they could do in their life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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